If you want to start making your own corset patterns, it is necessary to understand the mechanics of pattern design and cut.  Here is a quick run down of my own pattern cutting library.

It was  my adventures in corsetry which led to my fascination with pattern cutting.  I needed to know HOW a corset works - the engineering aspect.  I am one of those types of people who needs to fully understand the reasons behind something in order to 'do it', and so I found this book in my Christmas Stocking one year.  It explains in full detail the concept of the French Block - how to draw one, make one, fit one, and then how to  design your corset or garment within it, for the French block (or sloper as it is also known), is the basis of all garment manufacture and design.This book explained very well the importance of measurements and how they relate to the paper diagram.  Most importantly, this is the ONLY book I have which explains the Bust Point well (or even at all!).  Let me just tell you ... the bust point is where your nipples are - it's different for everyone.  The distance between nipples is VITAL because when you have drawn your front block, you need to know where the dart apex should be - so you draw a line which measures half the distance between your nipples, parallel to the centre front line, and there is the line upon which your bust point should be.Being a book about corsetry, it obviously only deals with the block for the upper section of the body, but this is the hardest part to grasp when pattern making because there are so very many possibilities and one of my other obsessions is how to fit the bust properly - my own having been a constant conundrum.  This book includes instructions on how to make 2 styles of bra - not the type you may find on the high street, but a good basis to get started on your own designs and possibly to integrate into a corset.

As corsetry ignited my interest in general dressmaking, I decided, along with finding a teacher, that I needed a more general book and this is the one I was recommended.  It's one of the industry standards for fashion students and is very very good.  There are some parts of it which are a little hard to decipher but on the whole, this book is a brilliant introduction with clear and concise diagrams, instructions and explanations.There are chapters on all aspects of flat pattern cutting for all types of garment in a  huge range of  styles.  The initial chapters focus on basic block building for bodice, arms, skirt and trousers, and then the rest has instructions on how to customise those blocks as required.

There are also chapters in this book explaining how to cut patterns for stretch and jersey fabrics which don't need darts, and at the end, a look at the more commercial aspects of fashion design.

This book is a new acquisition:It is all about construction of garments from the initial pattern making, to special finishes for special fabrics ...  It starts off with lots of different techniques which are not found in the previous two books - this book is much more "creative", with inspirational pictures from the catwalk and quotes from all the famous designers.

Rather than be put off by these glamorous catwalk pictures, I find them very interesting.  At first glance these beautiful gowns look absolutely impossible!  But this book breaks them down and shows you that although they are stunning works of art, they are constructed using the same techniques as described in any pattern cutting book.  It is the mastery of these techniques by the designers, the cutters, and the people who sew them, that makes these clothes special.

There is a whole section in this book on "support" but this doesn't just include corsetry as one might imagine.  It also includes tailoring techniques, information about interfacings and other support structures, along with descriptions and tips on how to generally sculpt, shape and manipulate your fabric.These are the books I have, but there are more on my Amazon wishlist!

Always handy to have any extra hints and tips!

A book about draping - you drape muslin over your dress form, shape as required, and then make a pattern from it.  Fascinating!

This book has fantastic reviews and on looking inside as you can on Amazon, seems to be absolutely packed with information.One more thing before the end of this post - I hope you are still with me and that I haven't bored you to death!  I have been reading the Vintage Sewing Info website which contains a whole section on vintage pattern cutting and more, for free!

The Royal Worcester Corset Company, which wasn't, as you may suppose in Worcester England, but in Worcester, Massachusets, USA was started by David Fanning around 1875 and flourished until his death in the late 1950's.  David Fanning was the  first  corset manufacturer to discover that women's bodies required different sizes to cope with tall, medium and small frames.  Thus, the factory produced corsets for the individual, at prices for the masses.

Many fabrics were used in the manufacture of corsets at RWCC, principally coutil, a firmly woven fabric, the finest of which was made in France.  Sateen and jean from America was also used, as well as silk, satin and batistes from Italy and  nettings for summer corsets.  In all cases whatever colour the outer fabric was, a white lining was required as women preferred the clean effect of this next to their body.

The order began it's journey in the order office, where it was given a style number.  This number was attached to each piece of corset as it was processed and kept in place until the finished item was boxed.

The pattern for the appropriate corset was selected from the many on the pattern rack, laid out on the correct grain of fabric and cut by the  most experienced of cutters to ensure economy and best fit.  The peices of the corset were then tied together in bundles and sent to the main stitching room where the seaming, basting, making up of fronts and backs and 'stripping' was done.  Stripping was the process of attaching bone casings.   From here, the corset was sent to the boning department where the bones were inserted by hand - bones were selected according to the type of corset, stout bird feathers being preferred by the wealthy ladies, steel bones for cheaper corsets - they were prone to rust in those days! Rattan or cane was used to bone the very cheapest corsets.  From the boning room, the corset went to the trimming room where it was put through a shaping machine, unevenness at the top and bottom was trimmed off and the top and bottom edges were bound. Eyelets were then added, along with some flossing which not only added to the beauty of the corset, but prevented the bones from working their way up or down their casings or wearing through to the front.  The final stage of factory corset manufacture was the finishing whereby the corset would be sprayed on the inside with  a solution of cold water starch and then tied to a 'copper maiden' through which live steam was passed, thereby pressing the final corset into shape and eliminating wrinkles.  The corset was then rolled and boxed ready for shipment.

Note: Most corsets were 'flatlined' as you can see.  The two layers of fabric which formed the outer and the lining, were stitched together piece by piece, and then treated as one layer.

Within the next few days, I shall be uploading a new kit for your enjoyment!

The Laughing Moon Underbust Kit will include half a metre of Satin Coutil which is actually enough to make two of the ladies underbust corsets!  The pattern  is another good value pack from Laughing Moon as it includes instructions for three corsets including a ribbon corset which was popularly used by 'sporty' ladies for riding or playing tennis - it has gaps in it which enable the wearer to move with less constriction than a regular corset.  There are also instructions for  the Gentleman's corset - I like the idea of that in a pinstripe fabric!

The Ladies underbust corset, parts for which are in the Kit, is a single layer corset girdle - extremely easy to make and even easier to fit as you do not have to account for bust size, which is where most people get intimidated!  As usual it fastens with a busk fastner at the front, and laces at the back. It uses pre-cut flat bones which are held in boning tape channels.

This corset is particularly good for the modern gal to wear as underwear as it cinches the waist in up to 4 inches giving a superb silhouette.  Just right to go under those glamorous retro-style frocks or to boost your shape when needed.