Tag Archives: 18th century stays

Battle of the Stays: Contestant # 1 Larkin & Smith Front and Back Lacing Stays in Red Silk Taffeta

 

Larkin and Smith Front and Back Lacing Stays

Larkin and Smith Front and Back Lacing Stays

For this pair of stays I did do a mockup – the style is very different from stays I have made in the past.  I just did a single layer of cotton drill (canvas) with the front panel sewn in and lacing tape sewn to the back.  The fit was overall pretty good.

The basic construction of these is as follows.  For each piece, you trace it onto the fabric and cut AROUND the piece, leaving about an inch extra on all sides.  Both the left and right sides are provided – even though they are mirror images – but this actually does help keep things straight.  You need 2 layers of interlining fabric for each piece (that would be 4 layers if cutting without the left/right pieces) and one covering of fashion fabric for each piece (2 if cutting without left/right pieces).  I cut them out 2 layers at a time, tracing onto the top layer only.  Then you sew the boning channels, trim the interlining fabric, insert the bones, and press the cover fabric to the back.  Tack the excess fabric down and the pieces are ready to be whip stitched together.

Here we go through all the steps on the first piece, the stomacher.  The 2 layers of interlining and cover fabric have been roughly cut out – you can see the line that is the edge of the piece in the photo below.  To determine where to sew the boning channels, I measured and drew a light pencil line down the very center on the back side.  Since the boning channels will show on this pair of stays, I am using red thread but sewing from the back side of the interlining.  It really helps to have a sewing machine where the bobbin and top side stitches both look equally nice when doing this!

Sewing boning channels on the back side of the stomacher.

Sewing boning channels on the back side of the stomacher.

In my stash of sewing machine feet I have an edge stitch foot that is exactly 3/8 inch from the center needle position.  This is the perfect size for 1/4 inch boning.  Still, always do a test channel on scrap fabric to make sure first.  As you can see above, the edge of the foot runs along the previous channel.  Fill the entire piece with boning channels.  Now it is ready for boning:

Boning being inserted.

Boning being inserted.

For this pair of stays I used a new product, synthetic whalebone.  It is plastic boning created to imitate the whalebone used in original stays, and is available from Larkin and Smith.  It can be cut with a pair of wire cutters – it is a bit stiff for scissors.  I like that it is about as flat as a piece of metal boning, so it will not add much to your waist circumference.  Here is a picture of a piece of the synthetic whalebone and a piece of cane boning:

Synthetic Whalebone vs Cane Boning

Synthetic Whalebone vs Cane Boning

When all of the channels are boned, trim the interlining back to the cut lines.

Boning channels sewn, and interlining trimmed to cut lines. It is ready for the boning to be inserted.

Boning in, and interlining trimmed to cut lines.

Front view

Front view after boning .

After boning has been cut and inserted into all full width boning channels, the extra cover fabric is pressed to the inside, and then tacked down.

Cover fabric pressed to the back.

Cover fabric pressed to the back.

Viola! Ready to be bound and have the lining tacked in.

Viola! Ready to be bound and have the lining tacked in.

The same basic steps apply to the other pieces, with two unique differences.  Both the side front and back pieces will have eyelets, so for these pieces, be sure to leave enough cover fabric to press inside over the entire eyelet area.  The lining should not extend into the eyelets.

Here are the side fronts with that first channel unsewn - once that interlining is trimmed, I can fold it and sew.

Here are the side fronts with that first channel unsewn – once that interlining is trimmed, I can fold it and sew.

I saved the first boning channel to be sewn after this strip of fabric was pressed to the inside.  This helps hold the first bone in place.  The edges of this piece will be hidden under the lining, which will come up to the line where the eyelets begin.

Side Front - leave enough cover fabric to press behind the channel for the eyelets.

Side Front with interlining cut along front edge – leave enough cover fabric to press behind the channel for the eyelets.

The other odd piece is the side back, which appears to be curved.  What happens is when you insert straight boning into this piece, it causes the piece to flair out nicely over the hips.  It was a little tricky to map out these boning channels.  Here is how I did it, so that it looks like the illustration in the booklet.

Measure the center of the piece, and draw a light pencil line 3/16 inch on either side – so that the boning channel is running down the very center:

First channel drawn, each line 3/16 inch from the center.

First channel drawn, each line 3/16 inch from the center.

Sew it!

Sew it with the cover fabric in place!

Next I measured how many 3/8 inch channels will fit along the narrow top of the piece, and marked the far edge boning lines to be sewn.  These channels need to be curved, so marking this first curved seam line is important to getting the others sewn in:

Outside channel sewn.

Outside channel sewn.

Then I started sewing 3/8 channels along that curved line using my sewing machine foot as a guide.

Remainder of curved channels sewn.

Remainder of curved channels sewn.

All that remains is to sew straight channels from the bottom up to fill in the spaces on the bottom between the straight channel and the curved channels.

The eyelets for the lacing in the front and back I did per the post How To Make Machine Thread Eyelets.

Time for assembly.  Whew!

How To Make Machine Thread Eyelets

Metal eyelets did not appear until the second quarter of the 19th century – before that, eyelets were hand sewn with thread.  Here is a great tutorial on making hand sewn thread eyelets.

However if you are like me, you are always looking for ways to use technology to make this easier and faster.  I discovered this great accessory for my sewing machine that allows me to make thread eyelets.  This product is for Husqvarna Viking but I would be surprised if similar accessories are not available for other sewing machine companies, especially more expensive brands like Babylock, Pfaff, etc.

Husqvarna Viking Eyelet Plate

Husqvarna Viking Eyelet Plate

Here is the eyelet plate installed on my Husqvarna Designer Diamond.  It comes in 4mm and 6 mm sizes – I find the 4mm to be the best size for corset eyelets.  When using the eyelet plate, the feed dogs must be lowered in the machine’s settings.

Eyelet plate installed and ready to go. Note you must remove the ankle or it will lower and prevent you from being able to turn the fabric.

Eyelet plate installed and ready to go. Note you may need to remove the ankle so that it does not prevent you from being able to turn the fabric.  One of my machines works fine with the ankle on, the other does not.  Go figure.

In a nutshell, you are going to set the machine to a basic zig zag stitch and then rotate the fabric around the eyelet plate as you sew.  The width of the zig zag stitch can vary depending on how thick the fabric is.  I always do a test eyelet on scrap fabric from the project first, but usually the stitch width is between 4 and 4.5mm.

First, mark the placements of your eyelets.  This can be done with a regular ruler, or with an expanding ruler (one of my favorite tools):

Marking eyelet placement with an expanding ruler.

Marking eyelet placement with an expanding ruler (it is also great for marking button placement).

For the examples I am using green thread on white fabric to make it easier to see, but in practice you would use thread to match the fabric.

Next, using an awl, work a hole in the fabric for the eyelet, just big enough to fit around the eyelet plate:

Hole made just large enough to fit around the eyelet plate on the machine.

Hole made just large enough to fit around the eyelet plate on the machine.

Now begin sewing – slowly!  I usually go around the hole quickly as a first pass, and then go around a second time more slowly to fill in.  But in this example I just began sewing so that it is easier to see how the thread is sewn around the eyelet hole:

Rotate the fabric around the eyelet plate while sewing with a zig zag stitch.

Rotate the fabric around the eyelet plate while sewing with a zig zag stitch.

Eyelet has been sewn all the way around.

Eyelet has been sewn all the way around.

Here are the front and back appearances of the eyelet:

Eyelet Front

Eyelet Front

Eyelet Back

Eyelet Back

 

Battle of the Stays: Contestant #4 JP Ryan Half Boned Green Silk Stays

JP Ryan Half Boned Stays

JP Ryan Half Boned Stays

After some deliberation I decided to cover this pair in green silk taffeta.  I have enough for a matching petticoat which could be used as a colored undergarment set for a chemise a la reine, or be worn together over a nice chemise during the summer, or be worn as undergarments for gowns and jackets.  I plan to embroider the hem of the petticoat with my embroidery machine, but that is a project for another time!

Now, on to the stays.

This pattern is interesting in that that front panel has 2 pieces for the cover and 1 piece for the lining.  Here are all the pattern pieces for the main layer of the stays:

Main pattern pieces for JP Ryan Half Boned Stays.

Main pattern pieces for JP Ryan Half Boned Stays.

And here are the front pieces – the 2 pieces for the main fabric and the 1 piece for the lining:

JP Ryan Half Boned Stays - Front Pieces and Front Lining Piece

JP Ryan Half Boned Stays – Front Pieces and Front Lining Piece

After doing some measurements and checking some of the individual pieces I did not do a full mock up on these.  Keep in mind that I have made many pairs of 18th century stays for myself over the years – if you do not have this much experience it is always better to do a full mock up.

This seems odd at first but actually they go together quite nicely.  The 2 main pieces are stitched together and then are laid on top of the lining piece, and from then on they are treated as one piece.  I cut the front cover using the lining piece to avoid extra seam lines.  The other pieces I assembled and boned, then add the cover:

JP Ryan Half Boned Stays - side pieces boned and covered.

JP Ryan Half Boned Stays – side pieces boned and covered.

Since many of these boning channels are curved, I used spiral steel boning for them even though it is not historically correct.  For the straight channels I used regular steel boning.  I am not sure how well the synthetic whalebone will work for half boned stays.

Here is the assembled front with the first side pieces sewn on:

Front of JP Ryan Half Boned Stays sewn to Side Pieces

Front of JP Ryan Half Boned Stays sewn to Side Pieces

I put the eyelets in the back piece after attaching the cover but before assembly, using my eyelet plate.  I wanted the look of handmade thread eyelets without the time it takes to hand sew them.  See post Making Thread Eyelets By Machine.

Making Thread Eyelets by Machine

Making Thread Eyelets by Machine

JP Ryan Half Boned Stays - back pieces with machine made thread eyelets and boning inserted.

JP Ryan Half Boned Stays – back pieces with machine made thread eyelets and boning inserted.

The stays are now ready for binding, which has to be done by hand.  They will be bound with bias strips of self fabric.

Battle of the Stays: Contestant #3 Late 18th Century

I started with this pair as I was waiting for both the synthetic whalebone and the JP Ryan stays pattern to arrive in the mail.  This pattern only has 5 pieces total – one front, two sides, two backs.  For 18th century stays that is very minimal.  Only 4 seams!  I decided to leave the seam allowances in and bone each piece before sewing together by machine.  Here is the front with boning channels drawn in, similar to the picture on the pattern envelope:

Front with boning channels drawn in - ready for (annoying) sewing stint.

Front with boning channels drawn in – ready for (annoying) sewing stint.

I have not done horizontal boning channels this way before but I read about it on other blogs, and it worked very well for me.  Instead of adding the horizontal bones in a third layer of fabric, you just don’t sew over the little square areas where the bones overlap.  Then you can insert both the vertical and horizontal bones between the two pieces of fabric.  It does make for a lot of starting and stopping though.  Here is the front with the boning channels sewn.  See all of the loose thread ends from stopping and starting?

Front with boning channels sewn and bones inserted.

Front with boning channels sewn and bones inserted.

No worries – those threads will be hidden by the silk cover, which gets basted on right before assembly.

Now for the sides.  It is very important to make sure there is at least one bone extending into each tab:

Sides

The back has to be done in a different sequence since the center back seam on each side is sewn and turned.  I sandwiched the silk cover between the 2 canvas pieces and seamed them together, turned, and pressed with the silk cover on the outside.  The two center back boning channels with the lacing eyelets between will be sewn through the cover fabric as well.  I flipped the cover up to so the one channel next to the side back seam though.

Backs - inside out to show the side back boning channel.

Backs – inside out to show the side back boning channel.

At this point I basted the silk cover pieces to the sides and front, and then seamed them all together.  I did a quick try on and they do fit!  However I didn’t reinforce the seams before I tried it on, and one seam started to rip, so I didn’t get any pictures.  I will not try them on again until I finish binding them.  But here are the stays assembled with the top binding of petersham ribbon applied:

Late 18th Century Stays - front and back

Late 18th Century Stays – front and back

Note: the metal eyelets are NOT period correct.  To be 100% accurate it should have hand bound eyelets.  I decided to use them in this case, since I do not expect to ever wear these stays without a gown or jacket over them.

The Battle of the Stays: The Battle Plan

OK to make a long story short, I have quit dieting.  So it is now necessary to make a new 18th century wardrobe that fits me at my current size, which will (hopefully) be the size I will remain for the foreseeable future.

Also since I now do a lot of costuming events that are NOT music related, I don’t need to wear stays with elastic in the sides all the time.  I have a great pair of modified stays I made a couple years ago using the JP Ryan fully boned strapless stays pattern.

JP Ryan Strapless Stays Pattern

JP Ryan Strapless Stays Pattern

I used power net for one of the side back panels.  When I play flute or sing with our musical groups I cannot get enough air in regular stays so I developed these expanding ones for that application.  Believe it or not I still get a 2 inch waist reduction!

I have also purchased a couple ready made modern corsets and have learned a lot through this adventure.  The corset makers seem to agree that a four inch waist reduction is about the maximum you can get with the 18th century design.  If I can pull that off, I can still squeeze into a couple of my older gowns with some slight alterations.

I seem to be on an endless quest for better corsets and stays, so I decided to do something crazy: make FOUR pairs of stays to see how the various patterns available on the market work for me.  Keep in mind that some of these styles may work better for some figure types than others, so this is not the final verdict on any of these patterns.  I am a US size 12-14 and somewhat apple shaped so it really is only useful as a study for this figure type.  Here are the competitors:

Larkin and Smith Front and Back Lacing Stays

Larkin and Smith Front and Back Lacing Stays

Larkin and Smith Front and Back Lacing Stays

Contestant # 1  I have to admit I am really excited about this pattern.  It comes with a large booklet with extremely detailed instructions on how to assemble them in an authentic fashion.  The pattern comes with separate pieces for the left and right side, which I didn’t use as I didn’t feel like making the same alterations to each pattern piece twice.  You just have to remember to flip over each piece so you end up with both sides (as it turns out, it didn’t need much in the way of alterations anyway).  I can see how the separate left and right pieces would be useful for someone who hasn’t made 18th century stays before.  I am going to follow her method and see how it works.  The other thing I like about this pattern is that the side seams are curved near the waistline just above where the tabs begin – I think this will result in a better overall shape and less stress on the tabs.  The separate stomacher means these stays have much more adaptability in terms of fit.  This pair will be covered in red silk taffeta, bound in the same fabric and laced with black satin ribbon.  I am not sure what I will use to cover the seams.  Maybe self fabric, or maybe black ribbon or braid.

I am going to experiment with a new boning material – synthetic whalebone.  I have not personally had great results with cane – it just adds too much thickness. Steel boning on a fully boned stay is VERY HEAVY.  Plastic zip ties are also a bit thick and tend to meld into one shape and stay that way forevermore, which is great if that happens to be the shape you want, and not so great otherwise.  This new product says it can be reshaped with heat.  So we’ll see how it does!

Here is an original stay that represents the shape I think this pair will have:

Philadelphia Museum of Art - Stays 1725 -1750

Philadelphia Museum of Art – Stays 1725 -1750

Reconstructing History Front and Back Lacing Stays

RH Stays_

Contestant #2: is the pair in the upper left corner in red – a front lacing stay with shoulder straps.  While admittedly it is similar to the Larkin and Smith pattern, the pattern pieces are somewhat different in shape.  I will admit I laid awake half a night trying to decide if I should make these lace over the stomacher or lace up the middle.  In the end I went with the stomacher due to the ease of adjusting the fit that this design offers.  They will be covered in pink silk taffeta and bound in white petersham ribbon, and will lace in the front with white satin ribbon.  Seams will be covered in narrow white grosgrain ribbon.  I will construct this pair in the same manner as the Larkin & Smith pattern and make it fully boned with the same synthetic whalebone.  If it turns out looking anything like this (only with fewer tabs) I will weep with joy:

Metropolitan Museum of Art Corset, 1770s

Metropolitan Museum of Art Corset, 1770s

I lengthened the entire pattern to create more of this shape.

I have not heard much about Reconstructing History in general, but they offer a lot of neat stuff you can’t find anywhere else (like mantuas).  This stay pattern has many different options – you can do this pair of stays as lacing over the stomacher, lacing closed in front, or lacing in the back only.  Also there are the wide front options, which brings me to contestant number three:

Reconstructing History Wide Front Stays

RH Stays_

Contestant #3: Now I’m looking at the pink stays in the lower left side of this pattern.  This option comes with the tabs or without, and is supposed to create a wider front to go with 1780’s and 1790’s styles, which I could really use!  I will definitely use the shoulder straps as this style seems to need the extra support.  This style is very different from the other three – in addition to having the wide front, it only has 3 pieces: the front, the side, and the back.  The historical notes (which are aplenty and very good) explain that late in the century they figured out that the shaping comes more from the direction of the boning and less from how many pieces are used, so the pattern complexity decreased.  I had to do a fair amount of altering on both Reconstructing History patterns but the styles are so cool looking I have high hopes!  This stay will be covered in white silk and bound with white petersham ribbon – indeed if they turn out good, I will be wearing them under my white chemise a la reine.  Since there are only 3 pieces on each side, I left the seam allowance in and will sew them together after the individual pieces are boned.  Since it is half boned the bones will be 1/4″ steel.  Here is an original stays that appear to have this wide front:

Mccord Museums, Costume, 18Th Century, Catevix Corsetri, 1785 1790

Mccord Museums, Costume, 18Th Century, Catevix Corsetri, 1785 1790

JP Ryan Half Boned Stays

JP Ryan Half Boned Stays

JP Ryan Half Boned Stays

Contestant #4: A relative newcomer to the market, I really like the looks of these stays.  They will be back fastening only since I want to keep the horizontal boning unaltered.  As this is a good candidate for wearing under late 18th century gowns that tend to be made from lighter fabrics, they will be made from white domestic coutil and boned with 1/4″ steel boning, 1/4″ spiral steel if any of those channels end up curved.  The binding will be 3/4″ white petersham ribbon (coutil is too tough to make decent binding).  Here is an original with the shape I am hoping for:

 

English Stays (1770-1790), made from red silk damask, Victoria and Albert Museum.

English Stays (1770-1790), made from red silk damask, Victoria and Albert Museum.

I can’t help but notice the similarity between this pair and Contestant 3.  I have found the drawing on the front of the pattern is not always an accurate representation of how they turn out.  Hence the need to have a battle in the first place!