This guide to corset fabrics is an extract from Making Corsets by Julie Collins Brealey published by Crowood Press. This book is a comprehensive guide to sewing your own corset. In the book you will find information on corset making tools and materials, how to use a commercial corset pattern or draft your own, essential corset making techniques and how to decorate a corset among other essential corsetry skills. The extract below tells you which fabrics are best used for making corsets and why.
Corset Fabrics
Your corset will consist of at least one layer of fabric,maybe two, three or possibly more. The main layer iscalled the ‘strength layer’ and, as the word suggests, needs to be composed of a fabric that is really strong,hard-wearing and non-stretch. The only fabric that cantotally meet these criteria is coutil.
Coutil
Coutil is a tightly woven fabric, which was invented inthe nineteenth century specifically for corset making. Ithas a high thread-count, and is usually recognizable byits herringbone structure, as you can see in the picture above. The finer the herringbone structure, the better the quality ofcoutil. The tight nature of the weave adds to the extremestrength and durability of the fabric, which is dense enough to prevent corset bones from poking through.
The best-quality coutil is made from 100 per cent cotton,although a cheaper version is made from cotton mixedwith polyester or viscose; 100 per cent cotton coutilis the most comfortable for wear against the skin andhandles better than the cotton mixtures. Althoughan expensive fabric per metre, you will possibly onlyneed half a metre, or perhaps less, to make your corset.
Herringbone coutil can be dyed or printed. Coutil canalso be used as a lining for your corset.Cheaper alternatives to coutil are cotton duck, canvasand drill. Providing these fabrics are strong and tightlywoven, they should perform well as a strength layer.
If you prefer a more decorative appearance to yourcorset, other types of coutil are available; each is asstrong and durable as the herringbone coutil. Cottonbackedsatin for corsetry is a coutil fabric and is so muchstronger than regular satin (which would need a backingfabric to be of use in corset making); this coutil wouldgive a luxurious sheen to your corset. Broche coutil forcorsetry is a heavier, very dense jacquard fabric with a cotton/viscose fibre content.
The design on the broche is usually the same colour as the background, although in a shinier thread. Rosebud coutil is another jacquard weave, usually woven with a shiny, coloured thread for the rosebud design. This fabric is a cotton/polyester mix and is available in a wide range of different-coloured backgrounds and rosebuds. I have featured a black/red rosebud coutil in my Victorian-style corset which I created by using a commercial corset pattern, see the image above.
Fashion Fabric
It is essential that you support your corset with astrength layer of fabric, such as coutil, as describedpreviously. However, you may decide to use a fashionfabric for the top layer. If so, try to use fabric that has awoven structure, with no stretch. It should be neithertoo lightweight nor too heavy, but essentially most typesof fabric will work. The fashion fabric will be attachedto another fabric layer which will stabilize it, prior toassembling the corset. Methods for this are described in the book.
Leather and Artificial Leather
Leather or any type of artificial leather can be usedsuccessfully to make a stunning corset: a good way ofre-purposing the leather from an old jacket is by turningit into a corset. However, care must be taken whenusing this type of material. Leather does stretch and sowill require stabilizing by using a strength-layer fabric asa backing. Specialist processes will need to be researchedprior to constructing a leather garment.
For instance, stitching leather requires the use of a walking foot or a Teflon foot on your sewing machine: both of theseattachments will help the leather to slide over the needleplate during the stitching process. Use a machine needleintended for leather work and check the stitch length: atoo-tight stitch will tear the leather. Also, any unnecessary lines of stitching will leave permanent holes in theleather. Make sure that your thread is suitable for the job.
There are many issues to consider when working withleather, so remember – sample everything on leatherscraps before you try out any technique on the corset.
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Read The Sewing Directory’s tips for sewing leather.
Elastic Fabrics
Elasticated panels can be incorporated into a corset toallow a little more flexibility into the garment. Make sure that you use an elastic fabric such as a heavyweight powernet that is substantial enough for the task; this fabric will stretch in both dimensions and will spring back into shape.
Linings
If your corset requires a lining, coutil could be used asan extra strength layer. However, there are many otherfabric options that could be used for this purpose.Lining fabric should be woven and have no stretch, andit should be heavy enough to conceal the outline of theboning inside the corset. If the fabric is too lightweightthe boning will rub and wear holes through it.
Liningfabric should be soft to the touch. Don’t forget that thislayer will possibly be worn against the skin, so fabricswith surface textures are not suitable. Natural fibres suchas cotton or silk are lovely for wearing against the skin asthey are soft and absorbent.
Interfacing
Interfacing is used for adding extra stability to areasof a corset that may need more reinforcement, such asthe CF and CB panels where the busk and eyelets willbe inserted, or any area of weakness. There are varioustypes of interfacing on the market, but the one mostsuitable for corset making is fusible woven interfacing: this consists of a woven fabric which has heat-activatedglue on one side. To adhere the interfacing to the corsetfabric, it is pressed onto the WS of your fabric usingan iron with steam.
Woven interfacings are usuallymade from 100 per cent cotton which works well with coutil. There are two colour options: white and charcoal.The image above shows a close-up image of charcoal-colouredwoven interfacing. Both sides of the interfacing aredepicted so that you can see the woven structure on oneside and the glue coating on the other.
Adhesive Webbing
I tend to use Bondaweb, which is a sheet of adhesivewebbing with a paper backing. It can be used to adheretwo layers of fabric together by pressing with an iron,which melts the glue. It can be purchased in packs or bythe metre.
Order your copy of Making Corsets by clicking the book cover above or visiting the Crowood website.
Find the author’s website and courses here: www.seweasybristol.com
Buy corsetry fabrics and supplies here: www.sewcurvy.com
