Mind The Gap

Ahh yeah.

Yesterday, Ryan and I joined the brother/in-law Ross and his girlfriend Jane for an outing to the Gainesville renaissance faire.  Since we didn’t have any rengarb, we opted to go as sightseers in Victorian garb.  I figured that if we were supposed to be ‘stepping back in time’ for a medieval faire, then it’s not such a stretch that we stepped back from the 1870′s, while everyone else stepped back from the early 2000′s.   Cheesy, but provides a valid excuse to dress however we (I) wanted to.  The rest of the crew were good sports so I didn’t have to dress up by myself, which I deeply appreciate.

Our initial arrival at the faire was rough.  The parking situation was insane and poorly managed.  We waited in a long line just to be turned around and routed back on the main road to go to overflow parking.  It might have been more efficient to put up a sign a few miles earlier and we (as well as several others) could have just gone to the overflow parking to begin with, which would have saved a major traffic backup of people going to the regular entrance, being looped through, then sent back out onto 39th ave.

After we got through that process, and managed to park, it was time to wait for a bus to get into the faire.  This was something of a free for all, with one person attempting to herd people into lines for each bus.  Overall, it was fairly quick once the herd of buses got back and picked up folks.  (All the buses seemed to move at once, rather than being staggered with 1 or 2 buses every few minutes.)

Once we made it in, the fair was pretty great!  Very crowded, with lots of people in costume, way more than I expected to see.  I highly recommend the Johnny Phoenix Danger Show (we’ve seen it both here and at the faire in Tampa) as well as the Barely Balanced acrobatic show (we had never seen it before).  There were several guests dressed as pirates, many of whom liked my hat, and I theirs, which was fun.  I want to make a pirate jacket some day, and more hats.

We bought fancy soda in big blue bottles so that the fellas can reuse them for beer.  I also picked up a pretty cameo and have been thinking about what to make to wear with it.  (It has some pretty gold and coral tones, I think it would look nice with dark brown, burgundy or purple, maybe with coral or a dark orange-y gold as an accent color.)

I’m also thinking about making something victorian involving pink and cranberry for Valentine’s day…maybe with a bunch of black as well…this would be particularly relevant if we go to Tampa again this year, I could wear it to the gothy club.  I have some awesome pink lace from old curtains that I could put to good use.

In the meantime I’m resuming work on the girl genius costume, which I’m pretty excited about.  I’m hoping to get all of the skirt done within the next week or so…even though that means figuring out how to make, and making, several clocks.  I did already plan how to attach them to the skirt and draw up the related diagrams, so at least that is done.

At the faire we learned about a convention (metrocon) in Tampa that’s going to have a steampunk theme this year, so we’re considering attending.  It would be a great chance to wear fun things.  On that topic, we did pass a group of gentlemen in attire that I feel is best described as gothic steampunk.  We nodded politely.

Being married now means I no longer have to worry about getting things done in time for the wedding, so I’ve been really enjoying spending the time instead thinking about things to make just for fun.

Well, the wedding is done! I was very relieved, and then immediately upon returning from the honeymoon caught a cold which I am still fighting.  The wedding pictures are here if you have not been forced to look at them yet.  LOOK AT THEM! NOW! GO!

Now that the wedding is done, I’m able to work on non-wedding projects again. (Ryan can no longer say ‘after the wedding’ as a means to deter me! BWAHAHAHA!!!…sorry, excuse my outburst.)

As such, I’ve started on a marvelous costume! Most likely to be worn at Dragon*Con 09. I’m working on a ballgown featured in the holiday special of a lovely webcomic known as girl genius (www.girlgeniusonline.com).

The gown itself is featuered here: http://www.girlgeniusonline.com/comic.php?date=20081215.  So far I have completed the base of the underskirt/forepart combo, and have completed the base of the corset. Most of what’s left is now creative decoration work, which will hopefully be the most fun!

Also, now that the wedding is over, I am thinking more seriously about the idea of taking commissions to sew things for people here and there, particularly costumes or more formal garments (my favorite things to work on are fancy things, you know).

To this end, I even ordered some business cards with my info that I can hand out the next time someone asks if I will sew things for money. The answer is yes, yes I will, at least if the thing you want sounds fun.

Also to this end, I am beginning work on gathering up a portfolio of pictures and such from things I have made in the past (and plan to make in the future). The start to this portfolio was found in the professional pictures from the wedding (where several of my items were featured). Just need to take the time to do up some content…

Fun times, fun times.

Each of my tattoos holds special meaning for me, although I didn’t always realize it at the time. They are a part of who I am, and something I’m proud of.

The first, a fairy star, the continuous movement of energy, with a waxing crescent moon in blue in the center. The moon symbolized both psychic awareness, and the maiden, the color, peace. This was my attempt to stay connected with you, though you had died three months before.

The second, a tramp stamp of a celtic knot with ivy wound upon it. The points of the knot represent earth, air and water. This was me trying to stay grounded and balanced, although at the same time I was reaching out for the desire and approval of men, to try to fill the void, and sense of abandonment I felt. You were still gone.

The third, the red dragon, the one you drew for me. When you gave it to me, you said it was inspired by the anger I had been carrying when we met. This time it represented the new anger I held at the world for taking you away.

Then, another tramp stamp, a four leaf clover on my hip. While still rooted in a need to feel wanted by men, this was also me trying to force myself into a persona that was happy and carefree. Well adjusted and moved past all that sadness and anger. Yup. Totally okay here people.

Some time later, I started on the phoenix on my back, an ambitious commitment, requirement many sessions over a few years time, and a lot of money I didn’t have when I started. It’s still not totally finished, although it no longer looks unfinished to those that don’t know the vision for the final piece. That first day, when I sat for just the outlines, it was my conscious decision to let you go, to heal, to conquer my circumstances. I still stumbled here and there, but with each session, I emerged with more ink added, and more weight lifted.

When I eventually reached a certain point, I was able to let someone else in, really, and not at arm’s length. After we’d been dating a while, we went on a small vacation, and I got a small tattoo, a skull on my finger. Sure, I like skulls anyway, but this was also me saying goodbye to you, and promising not to forget you.

A while later, he proposed, and I got another tattoo I’d been thinking about, a family of penguins. For me, this symbolized happiness (they are just so darn cute!) as well as teamwork, and ultimately, love. I’ve been fond of penguins since early childhood, and mentally associate them with good things. It all started with one little Christmas ornament from a catalog, which I loved as a toddler and carried around the catalog to show it to pretty much everyone. Despite its expense, my parents ordered it for me. Every time their tree goes up, I put that ornament on it. It’s a little penguin on a pair of skis, with a little scarf and hat. To a toddler of course it’s a pingle on sticks instead of a penguin on skis, but I did eventually get the pronunciation right.

Things go swimmingly with this new man. On a vacation to visit friends I get a new tattoo, this one a trio of orchids. I tend to gravitate toward designs in threes, it seems. I’m literally blooming again and ready to step into it and fully let myself believe it’s real, to love without constant fear it’ll all be gone in one instant, again. I think I chose orchids because my mother had at the time been really into them, she had loved you too, and was left to watch me mourn you.

Last night I had some more work done, a snowflake added to my wintery penguin scene. I have a few more sessions to go to add a couple more snowflakes and blend it all together. This piece marks my upcoming wedding. I also kind of see it as my last big step in cleansing all my old fear and sadness, my final test to pass.

He got his first tattoo last night, a decision on his part to mark the wedding and his own journey to this point. He was in good company with his brother and our friends. Although I’m very sad I was not there with him for it, I know that he did not take the decision lightly, and really understands the commitment of a tattoo, and I am proud.

I’m going to try to make this costume: http://www.girlgeniusonline.com/comic.php?date=20081215

It’s going to be fun! I have already ordered a hoop skirt off of e-bay (vendor was angelsbridal) that’ll need a few mods but should work nicely. Here’s a pic:

We’re almost done!

Binding

First, we need to bind the edges.

Half inch double fold bias binding should do.  Craft stores have this in a variety of colors.  However, if you’re crafty, or have a need for something specific, other materials can be used.  For instance, you can use satin blanket binding (it’s a bit wider usually), or you can make your own binding out of the same fabric the corset is made in.  If the edges are fairly straight, you may even be able to use nice ribbon to cover the edges.  I’m pretty lazy, so I tend to go for the pre-made binding tape.

So, bind the top and bottom edges of the corset.  The narrower edge of the binding tape is the top, this should be on the outside of the corset.  The underside is a little wider.  This way when you stitch through from the top, if you catch the top edge of the binding tape, you’re also sure to have caught the underside.  Tuck the ends of the bias tape under so they look neat from the outside.

Go very slowly for this part — it’s easy to get in a hurry and then have binding that doesn’t lay flat, with little bits that are puckered, or not caught in the stitching.  If using very nice binding or working on something special, you may want to consider stitching it by hand for the best look.

If you’re going to trim the edges, or add appliques, etc — now is a pretty good time for it.  All I added to mine here was a bit of ribbon to match the black lacing I’ll use later, and the trim on the skirt this corset goes with.

Now, it’s time to set your eyelets (unfortunately I failed to take pictures of this step, but fortunately, eyelet kits seem to always have diagrams, so that should help).

Measure and mark where each eyelet should go so that both sides are the same. (I tend to prefer to make them evenly spaced around an inch apart for simplicity and to reduce the chance I’ll mess it up, but there are some variations that are neat.)

To set eyelets:

• Work a hole with the awl/ice pick
• Put the eyelet through (with the smooth flared end on the outside of the garment)
• Apply fray check to the edges of the fabric around the eyelet (very close to the eyelet itself, or you can wait and do this step after you bind the edges, or you can skip it all together…I personally am paranoid and the fray check is my friend)
• Use the eyelet setting tool thingy to cramp the eyelet down
• Repeat

Once the eyelets are in there, it’s time to bind them.

This accomplishes a few things:

• Covers up eyelets that are ugly or the wrong color.
• Adds extra reinforcement (keeps the eyelets from working out later on).
• Makes the finished garment look prettier.
• Makes other people think you are weird.

Here’s a handy little tutorial for the stitching part — you’re basically doing what they describe there, around the metal eyelet you just put in: http://www.vertetsable.com/demos_eyeletholes.htm

There are also some other ways to handle the eyelets, this is just the habit I’ve gotten into with the last few I’ve made.  Go with what works for you.

A couple photos:

Lacing

Using the cord you bought earlier, lace your new creation up.  Here is a website I found that had a nice explanation and diagram: http://www.waspcreations.com/howtol.htm — A google search for ‘corset lacing diagram’ will turn up several references.

Extra Bonus

Finished corset being worn!

Now that all the pieces are put together and pressed out flat, it’s time to put in the boning channels.  The channels are made of the ribbon that we gathered up earlier.  Place the channels by carefully sewing down one edge of the ribbon while holding it in place (or pinning it, but I find this difficult due to the thickness of the fabric), then sew down the other edge of the ribbon.  Repeat in each place a channel needs to go.

• Add one on each side of each seam.
• Add one in the center of each front panel.
• Add one in the middle of each back panel, about half an inch from the built-in bone channel at the back edge (this provides a place for the eyelets to go that is in between two bones, to help prevent deforming the fabric from the stretching)

Then, trim the top and bottom edges of the corset to even everything up, and stitch along the bottom edge, about 2/8 – 3/8″ from the edge.

Cut boning for each channel.  I usually measure from the stitching line at the bottom to about 3/4″ an inch from the top edge, this seems to leave enough space on either end of the bone to bind the edges of the corset with no problems.  If you’re using metal boning, tip each as appropriate, if using the plastic stuff (easy to get at the local fabric stores) trim the corners to round the ends off a bit.  If the boning is in one of those fabric sleeve things, you probably want to take that off so that the boning will fit in the channel.

Put boning into each of the channels (you may need to use a spare piece of boning to help push them in for the last half inch or so).

Now stitch along the top edge, 2/8 – 3/8″ from the edge.  With all your bones in place and sealed in, you can go have a beer and decide how you’re going to bind the edges and do the eyelets and all that good stuff!

The final installment: Binding, Eyelets & Lacing.

Cutting

Reference the pattern instructions to lay out the pieces on the fabric, being mindful of the grain line, nap, print, and all that jazz.  Cut the pieces from your outer fabric, canvas interfacing, and lining fabric (if desired).  There should be two of each piece, which should mirror one another, from each type of fabric being used.

This part isn’t hard…but sure is tedious.

Interfacing

For corsets, you’re going to want something sturdy for interfacing.  I’ve taken to using heavy canvas, as it seems to work pretty well, and I often run into small bits of it just perfect for this size project in the remnant bin at a nice discount.

I hate fusible interfacing, but I’m also too lazy to baste the edges together on the fabric and interfacing, so here’s what I like to do:

• Match each piece of fabric to it’s corresponding piece of interfacing
• Protect your surface with newspaper or something similar (I’m a fan of a sheet of foamcore)
• Lay the interfacing (canvas) down on your surface
• Spray on the adhesive
• Move canvas to another area of the work surface away from the overspray (sticky side up)
• Smooth the fabric onto the canvas (right side up)
• Set aside
• Repeat

If you’re lining your corset, I think an easy way to do this would be to flip the canvas/fabric pieces over so the canvas side is up, spray the adhesive on, and then smooth on the lining fabric.  I haven’t tried this yet, but it might be easier than trying to make a separate lining with all the pieces stitched together and then having to attach it to the rest of the contraption (which is the normal lining method given in the pattern instructions).

Assembly

Once you’ve recovered from the adhesive fumes, it’s time to move on to assembly.  Pin the pieces together, right sides in/wrong sides out, and stitch with a 5/8″ seam allowance.  Reference the pattern instructions for more detail and diagrams, if you haven’t done much sewing before.

Remembering to keep all the pattern pieces right side up, put them together in this order:

• front to middle front
• middle front to side front
• side front to side back
• side back to middle back
• middle back to middle

Once those are all sewn up, pin the two halves together along the front seam, and stitch that up too.  This will result in a single long piece for the corset, which will lace up the back.

Then, to give a neat look to the back edges, fold each side under about an inch along the edge, then stitch 5/8″ from the fold to create a boning channel at the edge.

Press the seams out flat, and you’re all ready to start the boning channels!

Move on to Boning Channels & Boning!

Seen at a local fabric and craft store by yours truly.

Original Pattern

So here’s the original pattern for the corset, readily available at your local Joann store…or from Butterick’s website directly.  When I bought this, it was on sale for something like 2.99 or 5.99.  If you sew a lot, it’s definitely worth signing up for their emails so that you know when the website has these kinds of sales.  We’re basing our work off of view C from this pattern.

The pattern is pretty straightforward, with 6 pieces for each side of the corset.  The pattern intends for a front busk closure, but in this particular case I’m just stitching the two halves of the corset together at the front and having a solid front panel with lacing in the back.

Alterations for Fit

The pictures below show the original corset after I made some alterations for fit.  I’m a bit too tall/long-waisted/high-busted for the pattern as it’s designed, so I lengthened the waist.  As I suspect this may impact some other folks too (the pattern seems like it’s designed for very short people), I’m going to explain how this was done just in case it might be helpful to anyone that stumbles upon this.

To make this sort of alteration, first find where the waistline is marked on the pattern (in this case it’s on the front panel), using a ruler or similar implement and a pencil, make a horizontal line straight across the pattern piece at the waistline mark.

Now, line up all the pattern pieces, in the order they are sewn together, matching the tops and bottom edges (similar to how they are laid out in the picture).  Using your ruler, continue the horizontal line for the waist across all the pieces.  Cut the pattern pieces on these lines.

To add your length, tape the bottom of a pattern piece to some paper.  Using a ruler, mark the amount of length you want to add at several points (measuring up from the newly cut edge of your pattern piece) across the edge.  Then, line up the top part of the pattern piece with the bottom part and tape it down.  Be careful that the bottom edge of the top piece matches up with the marks you just made so that the amount of length you add is consistent.  Also be sure to line up the left and right edges of the top and bottom pattern pieces.

Now, using your pencil, smoothly connect the lines on each side of the pattern piece from the top half to the bottom half, drawing on the paper you just added in.  Then, make sure everything is securely taped together, and cut out your new piece.  Repeat for all the pieces.

For myself, I originally ordered the pattern in a smaller size with the intent of making a tight lacing corset…then I decided I’d rather make a couple that aren’t so tight until I get the hang of it, so I needed to enlarge the corset a bit.  To do this I just added a bit of width to the front and back side panels.

This affects on the two of the pattern’s pieces.  To do this, tape the pattern piece down onto a piece of paper so that there is extra paper sticking out where the side seam is.  Measure out perpendicular to the pattern edge and mark the amount you want to add, repeat down the side of the piece.  Connect the dots to get the new side edge of the pattern piece, then cut it out.  Remember, the amount you add will ultimately get multiplied by 4 (as you add this amount on both the front side and back side panels, which end up being used on both the right and left sides of your corset) – it’s easy to add too much!  (But, it’s almost always easier to take something in than let it out, for what it’s worth.)

Alterations to Under Bust

Now that those alterations are complete, you’ve got a handy pattern for an over bust corset.  Ah, but we’re working on an under bust corset today, so it’s time to make some more changes.

Converting the pattern to under bust is really pretty easy.  But, you don’t want to cut up your original pattern, so take a break and trace each of the 6 pattern pieces onto some freezer paper, and label them appropriately (mark the grain lines too!).  Cut out the new pattern.

Holding the new pattern front up to yourself, decide where the top of the corset should stop, and mark it in pencil.  Now, using a ruler, mark an even horizontal line across the pattern piece at this mark.  Lay out all the pattern pieces, matching top and bottom edges like you did before, and extend your horizontal line across all of them.  This will make the new top edge of the pattern pieces — cut each piece along the line and discard the tops.

One last thing to check — if you find that the edges of the front pieces (where front meets middle front, in particular) are curving outwards towards the tops, just trim them up a bit to make straight vertical edges — this will help make the front of the corset nice and flat.

Your pattern is ready to go!

And now: Cutting, Interfacing and Assembly