These stays definitely provide excellent lift and separation. It is important that the straps be snug for this! Because there are no bones along the side-front of the corset, the tension of the strap is what provides any side-breast support. (My straps are actually a bit too long, so I am cheating in the above picture and tugging the strap tight with my opposite arm. You can see in the below-right picture that the straps are tied ALL the way tight against the top edge of the stays. There should be a gap there!)
Despite taking a while to stitch, these were relatively easy to put together. The elements that took the longest time were the little hand-stitched elements, reenforcing stitches around the corners of the gussets and the eyelets.
My notes on this as a curvy gal... I have a bust-waist difference of 10", and a waist-hip difference of 12". This pattern still is awesome for this shape, but it means that the hip gussets need to be pretty wide, and need to be carefully sliced exactly to natural waist. Something to keep in mind is that as this pattern is expanded, the length from top CF to top CB expands at a much faster rate than the length around the waist (see illustration below). This suits small sizes and curvy (high bust-waist-hip differentials) shapes. It may not work as well for an apple or rectangle shaped body, because it creates such a distinctive cone shape from waist to top edge.
The busk is a paint-stirrer (classic DIY busk material) trimmed and sanded to remove all sharp edges. Hoping to get a fancy schmancy one for the next version of these stays.
They were a bit hastily made - the next pair I make will be handstitched and more carefully fitted, but I needed to just get them finished so that I could move on to a dress! All in all I still like them despite the flaws. I prefer perfectly smooth stays, without wrinkles - I'm not sure that is possible with this pattern (with so few bones) on my fluffy shape, although they may be smoother with a more sturdy fabric. Wrinkles and all, these stays are comfy! I'm looking forward to wearing it through an event to see how they hold up.
Things I would do differently next time:
- Handstitch the whole thing. This provides better control over gusset insertion - I don't love the ripples caused by my machine stitching through 9 layers of fabric around each gusset.
- Select a lining that is as inflexible as the outer fabric. The lining for this sample ended up having a lot more "give" and slight stretchiness, which results in internal wrinkles that you can see through the outer layer.
- Add an extra inch of fabric at center back. The gap can actually be about an inch closer than it ended up being in photos, but I'd like just a little more coverage and a little less lacing gap.
Since this was begun LONG ago as a Historical Sew Fortnightly (2014) challenge, "Under It All", I'll wrap it up with the same deets!
What the item is: Stays modeled after direction by J. S. Bernhardt, c. 1810-11.
Challenge #4, Under It All: this fits the challenge because it is a foundation! It goes under any outer clothing of the era.
Fabric: three layers of plain woven cotton - the top two layers are fairly fine and tight, the inner layer is a slightly looser weave. I thought it was coutil, but was clearly wrong. Next time I will use the same fabric for the interior and exterior, or a tightly woven linen for the interior.
Pattern: Enlarged from J. S. Bernhardt's sewing manual, which I got from Sabine of Kleidung um 1800.
Year: 1810-11
Notions: a length of cord for lacing, and a paint-stirrer for the busk.
How historically accurate is it? the shapes are quite accurate. The actual stitching and fabric, not so much. I'd give it an 80%.
Hours to complete: of actual sewing? Probably 50 or so, most of which was occupied with the eyelets and gusset reinforcement.
First worn: for this photoshoot! Hoping to wear it to the Louisville, KY Jane Austen Festival in a couple weeks.
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