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Tutorial 3. Cutting the Corset.

Tutorial 3. Cutting the Corset.

I shall begin by fusing the fabric.

I am going to cut it crosswise.

I arrange the fabric carefully with its wrong side up. I have chosen the matted side for the facing.

Next I place some hard iron-on fabric over the top, with its adhesive layer down, and start ironing it on. Then I turn the overlay upside down and iron it from the other side.

How to calculate the consumption of the main and iron-on fabric?

I have a simple way of doing it:

I lay all pattern pieces in a row on the table and then measure the total length and width of the surface they occupy. It is necessary to account for any further pattern alterations.

All necessary materials and their quantity required for our sewing process:

Red stretch satin – 1m;

Black satin – 70 cm;

Embroidered chiffon – 1.5m;

Black chiffon – 1.5m;

Tulle – 6m;

Satin elastic ribbon – 3m.

Red stretch satin (1m long and 70cm wide) will be used both for the facing and the lining.

Black satin (70 cm) will be used for the lining of the main skirt piece.

The embroidered part of our embroidered chiffon (1.5m long and 130 cm wide) is about 90 cm wide.

Black chiffon (1.5m) will be used for the lining of the detachable skirt piece and the draped belt.

The tulle piece is about 6m long and 3m wide.

The satin elastic ribbon (around 3m long) will be folded in half and used for the belt.

I cut off the facing piece of satin fused with the hard iron-on fabric:

And I fuse the remaining piece of satin with thin iron-on batiste (it will be used for the lining):

I fold this fused lining piece in half and outline the standard pattern as is:

Black marks the initial lines and blue – those that are adjusted.

I need to lower the curve line of piece 1 by 3cm so I mark it down and draw a new line repeating the shape of the corresponding curve of the standard pattern.

And then I go on to piece 2. I trace its full outline first. I mark 3cm down along the curve line, too. Then I mark 1cm down along the right side line and draw a new top line trying to preserve the configuration of the standard pattern.

And now let’s proceed to piece 3. First I trace all of it, along the contour. Then I mark 1cm inwards from the right side. I match the waistline notch and mark its new location. Then I adjust the bottom line referring to the standard pattern. Next I draw a new side seam line (its length equals the initial length) using the standard pattern as a stencil. And finally, I mark 1cm down along the new side seam line and 1cm along the opposite side line. I join these marks and get a new top line.

Now I trace piece 4. According to my calculations I need to add 0.5cm at the bust level and another 0.5cm at the under-bust level. I use the pattern as a stencil when drawing all new lines. So I match the waistline notch, mark its location and draw a new line going up to the point of widening.  And again, I draw an absolutely new top line that corresponds to my pattern alterations, just like I did for piece 3. This way I’ve achieved a 0.5cm widening along the side seam and made a new top line. Only after doing this I can lower the side seam and therewith the whole back piece by 1cm and adjust the top line. I add 0.75cm to the right curve line at the under-bust level.

Now I draw the initial configuration of the central back piece – piece 5. I shift the top line down by 1cm.  Then I add 0.75cm to the curve line at the under-bust level. I draw a straight line going from the top to the point of widening. After matching the waistline notches of the stencil and the drafted pattern I connect the notch mark of the stencil with the widening point on the curve line.

These are all necessary alterations of the standard pattern.

I usually cross out all superfluous lines to avoid confusion.

Then I pin the pieces together – with just a couple of pins – to prevent them from getting shifted and secure the fold line.

Why do I do it this way instead of pinning them together thoroughly and cutting them out?

The thing is that we are using two kinds of fusible materials that have different widths, which means the layout of pieces on the hard iron-on fabric is not going to be the same as on the thin batiste. However I want to be able to cut the facing and lining pieces simultaneously.

And that’s why I just cut off lining pieces 4 and 5 now.

Then I lay down my fused facing fabric that is still folded in half and place lining pieces 1, 2 and 3 as a whole piece on top of it. I even out the fold line and pin all pieces together piercing through all layers of fabric.

At the same time I put an extra piece of the hard iron-on fabric under the overlay in order to cut it out simultaneously (it will be used for supporting the cups).

Then I pin together all layers of the overlay:

I cut out the patterns after their newly adjusted lines:

I have simultaneously cut out the additional cup pieces. Now I trim them down across the line of the under-bust notch and trim the side and top seam allowances.

I place back pieces 4 and 5 onto the fused facing fabric, pin them together, cut them out after their new lines and make all notches:

I use the remaining fabric for making a modesty flap:

The modesty flap is cut out in proportion to the length of the back and is 12cm wide.

Now we are ready to start sewing the corset:

One comment

Nohimot temitope says:

Wow thanks a lot it's really helpful.

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