coutil

1878 H.S. STRAUSS PATENT 208049

Initially when I came across this patent found here, I liked the simplicity of the pattern pieces with the multiple rows of stitching and bone channels used in the bust area. I was most intrigued however by the unique shaped bone pocket (seen in figure  9) that would be applied to the exterior of the garment.

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PATENT OBSERVATIONS

PART 2: THE LETTERS

  • In the drawings, Figures 1, 2, 3, 4, 5, 6, 7 represent the several patterns of which the base of each half of the corset is composed. Fig. 8 represents one-half of the corset expanded, but without perspective shading, the dotted lines indicating the seams. Fig. 9 represents the hip-piece cl enlarged, and also a portion of the piece (1 broken away, showing the bones and the under seam.

CUTTING INSTRUCTIONS

  • Each half of the body of the corset is composed, first, of seven patterns, as shown in the drawings, numbered 1 2 3 4 5 6 7. In cutting these patterns, Nos. 1 and 7 may be doubled by folding the material on their outer straight edges. Nos. 2, 3, and 6 consist of two pieces each, cut to the same pattern, while No. 208,049, dated September 17, 1878 application filed June 26, 1878.
  • N 0s. 4 and 5 may be single or double, as de sired. The pattern Fig. lhas the usual hooks, and the pattern Fig. 7 has the usual eyelets.

CONSTRUCTION NOTES

  • When the pockets are formed in the several patterns 1 2 3 6 7 all the several patterns are sewedtogether. The best way of sewing them together is as follows: The edge of Fig. 2 (shown inthe drawingnearest to Fig.1) is sewed to Fig. 1 on the edge nearest to it. These pieces Figs. 1 and 2 are laid together sothatthe sides of said pieces which are on the inside of the corset when the corset is finished will face each other, and the edges of the parts are thus on the outside of the corset when the parts are expanded, and the inside of the corsetis smooth, the seams being what are called hidden seams. All the patterns are thus sewed together, the edge of the piece of each higher number (shown in the drawing nearest the lower number) being sewed to the edge of the lower number nearest to it. When all the The pockets formed in the 5 seven patterns Figs. 1, 2, 3, 4, 5, 6, and 7 have been thus sewed together, the shape of the whole forms one-half of a corset so shaped as to make the form desired.
  • The hip-piece d, Fig. 9, is a narrow strip, with its sides parallel about one-half its greatest length, with a gore-shaped or flaring lower part, having pockets for bones of decreasing length, as shown in Figs. 8 and 9. This piece at is sewed over the outer side of the corset, so that the seam connecting patterns Figs. 4 and 5 comes under it at or about the heavy dotted line shown in Figs. 8 and 9 by the letters 0 o. This piece, while giving shape to that portion of the corset, also serves as a protection or shield for the hips, upon which the outer garments may lie.

HISTORY

CORSETS OF 1878

1887

American corset found at the Metropolitan Musuem (USA) is dated at around 1878. The upper edge is cut flat across the bust and the front lower finishes over the hips slanting to a deep V shape. The corset similarly to the patent appears to feature multiple boning by rows of parallel stitching creating the channels. Bust gores give this corset extra shape.The decorative stitches (flossing) at the lower edge prevent the boning from forcing its way out of the channels. The corset is finished with a deep lace along the upper edge.

light blue silk corset with flossing 1870-1885

American corset dated 1870-1885 found at the Museum of Fine Arts, Boston USA (Accession number 201:616). Constructed from light blue silk the corset features a straight busk front with double gusset at the breast. Heavily boned all the way around the corset has multiple rows of stitching sandwiching whalebone between the layers of fabric. The gussets also appear to be corded providing additional shaping and support to the bust area.  Decorative flossing is used in white contrast thread to hold the bones at both upper and lower edges.

Pattern Draft:

My  first pattern draft based on my measurements. I enlarged the pattern pieces of the patent as a rough base for the piece shapes amending each piece accordingly. I renamed this pieces as follows from left to right CENTRE FRONT, FRONT, SIDE FRONT, SIDE, SIDE BACK, BACK, CENTRE BACK

I realised when I made up a toile of the pattern I needed to increase the body length of the entire corset pattern from the over bust to waist by 2cm. I extended the pattern from the waist and reshaped the pieces.

PRE CONSTRUCTION
Prior to commencing construction there were a few preparation stages (not photographed) beginning with the fabric cutting. I chose a dove grey spot broche coutil. I liked the sturdiness of the fabric which would be suitable for the single layed panels.

  • Cut a double layer of coutil for the CENTRE FRONT/ FRONT/ SIDE FRONT/CENTRE BACK  (2 pairs)
  • Cut a single layer of coutil for the SIDE/ SIDE BACK/ BACK (1 pair)
  • CUT a single layer of coutil for the additional bone pocket (1 pair)
  • I prepared all the bone casings. I cut strips of the coutil of approx 36mm wide (following the selvedge) I Used a tape maker to make 18mm bone casings. 5mm spiral steel boning would be used in the double channels

CONSTRUCTION

Inserting the busk: I decided to add a modesty panel behind the busk to stop any flesh showing through the gap of the fastenings. This was created by using a panel of folded coutil and inserting it into the studded side busk seam.

The seams were then joined wrong sides together of the CENTRE FRONT and FRONT panels (double layer together)  The seam was covered externally by the bone channels.  These were positioned centrally over the seam. I edge stitched on either side before using the edge of the foot as a guide to stitch down the centre of the casing to create a double channel.

I then machine stitched rows of channels approx 8mm wide as indicated on the pattern pieces.

The panels were joined in the following order. All the seams joined wrong sides together so seams appear on the garment outer

  • FRONT/SIDE FRONT (double layer of coutil). More rows of stitching creating bones channels following the pattern.
  • SIDE FRONT/SIDE
  • SIDE/SIDE BACK
  • SIDE BACK/BACK
  • BACK/CENTRE BACK

Close up where you can just see the rows of stitching for the bone channels in the front and side front pieces

 

Creating the bone pocket: The bone pocket (figure 9 in the patent) was an additional panel that would be placed over the top of the seam between the SIDE and SIDE back panels. This would strengthen the corset whilst maintaining lightness- using just the single layer of fabric for the SIDE/SIDE BACK/BACK pieces. I developed the pattern by drawing the shape on my initial toile, cutting and retracing  to get the shape.

Toile of the bone pocket. Channels stitched to figure out the number of bones to go in the pocket.

The seams were pressed under on either side before the panel was top stitched into place. Rows of stitching creating channels were made following the front of the pocket.

Rows of stitches were created in the pocket for the boning channels using the machine foot as a guide parallel to the front of the piece.

Boning: Spiral steel bones were cut to length and tipped before being inserted into all the channels. Flat steel bones were used either side of the eyelet channel to provide stability.

There are a total of 50 bones in this corset. A combination of spiral steel and flat steels at the centre back. Over 8 Metres of boning is used.

One half of the corset. A close up showing the boning inserted into the channels.

FINAL CONSTRUCTION STAGES

Binding: I chose a silver raw silk slub fabric binding for the upper and lower edges. The binding was made cutting the fabric on the bias grain and pressed using a 18mm tape maker.

Eyelets: Finally the corset was eyeletted using silver metal eyelets to match the busk. 12 pairs of eyelets were used in keeping with the patent illustration.

THE FINISHED CORSET 

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