Farthingales now stocks corset mesh in 5 colours! This fine nylon mesh is approximately 58" wide and is surprisingly strong despite being very light. The current colours are white, black, beige, red and pale purple. When there is only a single layer over the skin you can barely see the colour of the corset mesh but add more layers and the colour becomes more intense as you can see in the images below.
Farthingales’ has never applied full retail mark-ups to the
products we sell. This means that it’s difficult to “wholesale” but we do want
to show appreciation to customers who buy larger quantities, as larger
quantities are more economical to process. They are also more economical to
ship – based on cost per unit. For
example: the price to ship one busk is about the same as the cost to ship 10
busks (depending on length/destination/service). So if it costs $10 to ship one
busk and it costs $10 to ship 10 busks…then for one you’re paying $10 for
shipping and for 10 you’re only paying $1 each for shipping.
There are various ways to get discounts based on quantity on
the Farthingales website. Note: you’ll see the discount listed when you get to
the shopping cart.
·There are various ways to get discounts based on
quantity on the Farthingales website. Note: you’ll see the discount listed when
you get to the shopping cart.
·Scroll over the tab “Corset Making Supplies”,
you’ll see a drop down menu and the very top listing is “Bulk Corset Making
Supplies”. You’ll see bulk quantities of bones by the pieces and by the meter, and
busks. These quantities are designed for costume shops or anyone who can
purchase 100 bones per size or 10 busks per size.
·Most items have a “View Quantity Discount”
button the page (there is no button if there is no discount). Click on the
button to see what quantity you need to purchase and what the discount is. For
example: coutil requires 15 meters to get a discount of 20%, but it also
indicates that the 15 meters of coutil can be any mix of styles or colours –
you don’t need to purchase 15 meters of one coutil – though you can if you want
to and you’ll still get the discount.
·On multi-size pages where you can click on
several sizes of an item and add them all to your cart. Look for the caption
under the image to see if there is a quantity discount. For example: “spring
steel bones 6mm” have the caption “order 50-100 bones, any mix of sizes and
save 10%”. For this discount you simply type in the qty in the boxes of each
size of bone that you want and add them to your cart. As long as the total is
between 50 and 100 pieces you’ll get the discount.
·And of course there is the “Sale” page where we
have discontinued items and odd lengths of fabric from the end of bolts.
Always check out the discount options to see if there is
anything you can add to your order to make it most cost effective to ship, and
you’ll save with the discount to.
When making McCalls pattern M2091 called Red Reign I followed some instructions and not others and I think that most of us do this, I do however always read the instructions as that's the only way to know how the pattern was intended to work. This is what McCalls Red Reign Cosplay pattern looks like.
I've outlined briefly my how I made the corset and bolero in two early blog posts. I have really enjoyed making all the pieces of this costume.
For the skirt I opted to use a layer of tutu net (from www.farthingalescorsetmakingsupplies.com)for the longer layer and the red/black light weight shot taffeta (from www.voguefabricsstore.com) for the shorter top layer. They get sewn together and gathered into the same waistband, which I made in the same red/black shot taffeta - the lower binding of the corset was done in the same fabric so they blended well. I added a third layer of dotted net (which also came from Vogue Fabrics) and modified the long back skirt pattern piece to get the shape and included it with the other layers when I attached the waistband. Why did I add this third layer? Because I could :-)
I like how the three different fabrics work together with the lovely light net draping over the red layer, I almost wish I'd used it on the front too. Note, the dotted net is sewn into the side seam of the skirt in order to keep it in place.
Before the three layers were sewn together, I added ruffled trim to each. The light dotted net is trimmed, with the same black organza ruffle that I used on the corset and the bolero. The red layer is trimmed with a gathered black grosgrain ribbon (I had serged the raw edge of the hem first to keep it from fraying and to stabilize it) - I also used this ribbon to trim the bottom of the sleeves on the bolero. The tutu net layer is trimmed with the same red/black shot ruffle that I used at the top, center front of the corset. I used a fairly close zig zag stitch to secure it to the net. All three trims have been used in the various pieces of this costume and all came from my stash. There is now almost nothing left of any of them - Yay!
There are several ways to make a cage crinoline and this method can make a functional and fashionable one since you make casings for the hoop steel/hoop wire. Interestingly the pattern envelope suggests using hoop connectors but they are not referred to in the instructions.
I thought I did follow the instructions fairly closely for the cage crinoline but I did use hoop connectors so I had to tweak how I made the casings for them, however as I read them now I realize that, yet again I did my own thing...because it made more sense to me to so.
So, what did I do differently?
I used Petersham ribbon for my vertical tapes ("straps" is the term used in the instructions). No fashion fabric, so they are just black - hmmm, wish I'd added black lace along the edges!
I did not use webbing as the only webbing I could find was rather bulky.
I used 1" twill tape instead of webbing for the back of the hoop casings
I sewed my fashion fabric lengths for pattern pieces 20 & 21 (for the hoop casings) together at both ends to create a continuous circle. BE SURE TO TRIM THE SEAM ALLOWANCES so that the hoop wire can't catch on them when you try to feed the hoop wire through the casings
I cut my twill tape in one length so it would have no seams. The length of the twill tape was 1" shorter than the circumference of the fashion fabric circle. I folded each end of the twill tape under by about 3/4" and zig zag stitched the raw edges down to secure them. The twill tape was then about 3" shorter than the circumference of the fashion fabric circles (both the larger and smaller one)
I have a serger and I set it to a rolled hem setting then serged the twill tape to the fashion fabric which created a dark black edge to the red/black shot fabric. Make sure the seam allowance side of the fashion fabric is against the twill tape as unpicking this stitching would be a nightmare.
The pattern instructs to cut the hoop steel longer than the hoop casing so that the ends of the hoop steel can overlap. I cut mine about 1/2" shorter because I used a hoop connector and they add a bit of length. The hoop connector has a rounded edge, that makes sliding the hoop steel through the casing easier. You can get hoop connectors HERE
Doing it this way means there is gap in the twill tape once the twill tape and fashion fabric are sewn together. This gap should go at the back of the cage. I aligned the center back tape to one side of the gap so that the tape could be securely sewn to the twill tape. In the image below you can see the white hoop steel with the hoop connector in the gap between the twill tape ends. This is facing the body so no one will see it and it means you can easily dismantle your cage for storage or travel. The vertical tape can be seen to the left and the red/black shot fashion fabric can be seen behind the hoop wire.
Click HERE to view a video on How to Use Hoop Connectors
I added a strip of black crystals to the top casing; I didn't have enough for the larger hoop and I'm glad I didn't. The strip of crystals was "stick-on" and the backing stuck really well to the fabric but the crystals began to come off the backing! The backing was impossible to remove once stuck on...one of the bad things about "stash". The cage crinoline is a very simple shape and was not too time consuming.
Once the skirt was over the cage crinoline it was almost impossible to see the crystals or the areas where they had come off.
And the final result!
I've also been working on a Fosshape top hat and I'm trimming it to coordinate with this costume.
I've written about the McCall's Red Reigncorset and now I'm onto the jacket or bolero part of the costume. I'm writing about the costume pieces in the order that I made them not in the order listed in the instructions. I'll admit I'm not inclined to following sewing pattern instructions (which my brother and husband would be surprised at, since I follow most rules even when no one is around) as I've got forty plus years of sewing behind me and ... I like to do things my way, when it comes to sewing. So, not only did I only use the instructions as a guide I also exercised artistic license on the design, and more so on the jacket than the other pieces.
This is the original pattern.
As you can see the little bolero does not have two identical sleeves according to the pattern. This somehow just didn't feel right to me, and since the great thing about sewing is making what you want - I made two identical sleeves that are a variation of the left sleeve above.
The fabric that I used for the bolero was red/black shot light weight taffeta for the body and spotted black net for the outer sleeve (both from www.VogueFabricsStore.com mail order) and black "corset fabric" (not coutil) for the lining, along with tutu net to support the outer sleeve and to create the stand up collar and a small piece of woven boning sometimes called "Rigelene" to support the center back of the collar. You can see it in the image above and it will keep the collar up despite hair or head movement. (all these items are from www.farthingalescorsetmakingsupplies.com). The ruffled trim is all from my stash and some of that is from my local Fabricland here in Canada.
I used the upper sleeve pattern; both the inner and outer sleeve for both sleeves, keeping my sleeves symmetrical. I had thought of adding the longer sleeve and the cuff ruffle but the longer (forearm) sleeve required stretch fabric and I wasn't sure my fabric had enough stretch to allow arm movement. I also happened to have some long gloves in an almost perfect shade of red and the gloves seemed like a much cooler look.
Cutting the collar from tutu net meant it would be sheer but would still stand upright really well. I cut the tutu net using the same collar pattern but I added ruffled lace trim along the outer edge and didn't need the interfacing layer called for in the pattern. The net pleated really easily and I could see the collar shape even as it lay on the table. I was having some difficulty handling the light taffeta fabric so I didn't sew the collar between the lining and the outer layer, instead I sewed the lining to the outer layer, clipped the curves turned the pieces right side out and top stitched at 1/4" from the edge. Then I added the collar, pinning it to the outer layer and sewing through all layers. To hid the raw edge of the tutu net collar I added a layer of black organza ruffle. The same organza ruffle trim that I put on the bottom of the corset after everything else was finished. It finished the whole perimeter of the bolero perfectly.
The back of the bolero is two pieces and they get laced together in the pattern. It was my plan to do the same but once I had added my black 2" braid (yep, more stash) and saw the bolero over the corset I really liked the way it looked open, so I'm not lacing it.
The pattern included pieces to make applique's that could be added to the back, but I wanted to use up more scrap that I had so I skipped the applique bits and cut strips of black lace for the shoulders and a small piece of different lace for the upper center back - the shape of this last trim worked perfectly (gotta love when that happens). I added heat set crystals to add a bit of bling. I also added a strip of black crystals to the woven boning collar support, but I did that after this picture was taken.
I'm still thinking about possibly adding more bling, maybe in the way of a broach. I'll likely decide once I see this on my friend and model Grace.
Next on my list to blog about is the cage and the skirt of McCall's pattern #M2091
As soon as I saw this costume pattern I had to have it, even though I knew that I would not be comfortable wearing it now...at 56, but I wanted to make it! Luckily I have a friend who was totally thrilled with the idea of wearing it, so I've made it for her.
This pattern is one of the McCall's Cosplay Patterns and it had to be ordered on-line, it was not available at my local fabric "chain store". You can get it at www.cosplaybymccalls.com
This blog post is about my experience making this costume pattern and one thing you should know before I start is that I never make a pattern as it is outlined in the instructions...never. That does not mean I think everyone should deviate from the instructions, but with forty years of sewing behind me I tend to have my own way of doing things soI read the instructions but usually do my own thing and that includes making design tweaks.
I started with choosing my fabrics and did stay with the colour theme of red and black. I chose brocade coutil from Farthingales, the black with red roses brocade coutil, but I opted to use the "wrong side" of the fabric! The lining of the corset is black corset fabric, also from Farthingales. The fabric for the skirt, hoop casings and jacket was from www.VogueFabricsStore.com and was a red and black shot, light weight taffeta that matched the wrong side of the coutil almost perfectly. I also used this fabric to bind the bottom edge of the corset so that it would match the skirt. It looks like it could be the same fabric used my McCalls for the underskirt and hoop casing.
I decided to use lacing tape rather than set grommets as it's so much faster and it gave me a chance to showcase the lacing tape from Farthingales. You can see the black lacing tape in the image below and how well it works with the "wrong side out" coutil. Lacing tape is made of fine herringbone coutil and matches the same coutil at Farthingales, it is designed to allow bones on either side of the eyelets which are preset by machine. It gets sewn onto the corset, so while it may seem a bit expensive it can same not only time but the risk of errors when setting grommets by hand. The decorative trim has been sewn over the back seam and the top edge has been bound with black silk shantung, both from my stash. This is not how the pattern says to finish the top edge and I'll explain why I did it differently, next.
The pattern instructions say to make the lining separately, which I did even though it's not my favorite way of corset building. Then you are to place the lining and outer layer wrong sides together and sew along the top edge - but I wanted a ruffle along part of the top edge and I wanted it to lay flat. If I had sewn the lining to the outer layer as instructed it would have made the ruffle stand up toward the chin, so instead I bound the top edge. This means the ruffle still lays flat but it also means the corset is 5/8" higher along the top edge since I've bound the seam allowance rather than turning down between the outer layer and lining. A bit of extra length here is not a problem, I could have trimmed it down, but didn't.
All the trims I used were from my stash, the ruffle above (that matches so well) was left over from corsets made when we were in Los Angeles a ten years ago! I also used it on the skirt and there is now only about 3" left, which I am willing to throw out. The center front braid on the corset above is also from our Los Angeles days and I've used it both on the corset front and on the bolero back. Below is a side view of the almost finished corset, the princess seam has been "piped" with faux leather braid piping that I've had for a few years and used in other costumes, there was just enough left to do these two seams. The velvet ribbon through braid is sewn over the side front seam. All trims were sewn on before the lining was added and the bone casings are all in the lining layer of "corset fabric" (not coutil) from Farthingales. The corset bones are a mix of spiral bones and spring steel bones and all are held in place using black bone casing tape that's been sewn to the lining, so you don't see any stitching on the outside!
I bound the top edge with black silk shantung because I actually had several bias strips in my stash, I bound the bottom with bias strips of the skirt fabric so that the bottom edge of the corset would blend seamlessly with the skirt. Ultimately I decided to add some black organza ruffle to the bottom edge, simply because I had some left after using it on the bolero and the skirt. Why not use it all up, besides it ties them all together.
So, I've added more trim than the pattern called for and did not include the belt, though I may still add one that is not attached. I've got some wide antique nickel chain that I might add when I see the whole costume on Grace. I made the corset in a more traditional way by not sewing the lining and the outer layer together but binding both the top and bottom edges after I had sewn lacing tape on the to backs. NOTE: if you use lacing tape you need to trim the back edges down, otherwise you'll get a corset that is bigger than you want it to be since you're adding the width of the lacing tape to both back edges. Farthingales has a "Tips and Tricks" section with lots of free tutorials and you can find out more about lacing tape here. https://www.farthingalescorsetmakingsupplies.com/Lacing-Tape-s/1829.htm
The corset has been laced with double faced 6mm wide satin ribbon and three covered buttons were added to decorate the front which has no busk. I cut the size 14 based on Grace's measurements and it fit well with no back gap when I made the mock up.
My next blog post will be about making the bolero.
cage is ready for the draping of Fosshape over it. I folded the Fosshape
around the outer edges of the cage. The Fosshape will stick to itself, but not
to the woven boning, so I made sure there was enough extra to extend beyond the
boning on the inside so that the outer edges of boning are encased in Fosshape
and it is securely fused to itself.
I didn’t, but you’ll want to cover the corset/dress-form with
plastic wrap to keep the moisture/steam from damaging them. I was lucky and no
damage occurred but it was a risk.
I steamed the whole of the Fosshape armor, wearing my gloves
to allow me to handle the Fosshape as I steamed it. Handling the Fosshape
around the edges was especially important as I was able to squeeze the two
layers together so they would fuse. The Fosshape does shrink as it is
steamedand I was able to guide the
shrinkage as well as secure the seams by handling the Fosshape. I could not
have done it without the gloves! The images below have no pins and while it
looks like the armor may be stuck to the corset, it’s not. The armor does fit
the shape of the corset but the Fosshape only sticks to itself.
Here you can see the inside of the shoulder structure with the woven boning
marked the outline of the front bottom and back onto the Fosshape while it was
still on the dress-form and then removed it and using scissors, cut along the
line. If I do this again I think I’d add a second layer of Fosshape to these
edges before steaming (much like I’d add a facing to a sewn garment) to give
added strength to the edges.
I didn’t think about this “facing” idea soon enough so I
tried to add it after and had limited success. I cut a facing in a similar
shape and pinned it to the armor. I pinned it to the outside to make a design
feature of it. When I steamed it the second layer did not shrink in quite the
same way as the first layer had, so I had to recut the front edge. Had I fused
the two layers during the original steaming my front shape would have been cut
through two layers. Next time I will also pin from the wrong side so that the
marks left by the pin heads, as the Fosshape shrank around them, will not be
visible on the outside, as they are on this armor.
Decoration - The Leaves
armor looked a little dull so I decided to make some leaves and add them to the
armor…it’s the great thing about doing things yourself…you can make it up as
I cut a few leaves
from some scrap Fosshape 600 that I had (Fosshape 600 is thicker than Fosshape 300). I stitched a few veins in each and
then pinned them onto the armor. I also decided to add a collar, I just cut a
strip of the Fosshape 600 and trimmed it after I pinned it in place.
As I steamed the leaves and used my gloved fingers to press
them carefully against the armor, they shrank and they fused to the armor. I
was able to shape them as I steamed them, so they did not end up laying flat. I
was also able to roll the collar back toward the shoulder.
I’m relatively happy with how my armor has turned out,
especially as this is my first attempt at building a cage/aperture like this
and covering it.
I still have several things to do before this is finished; I
have to paint it and I have to determine how it will be worn – will I attach it
to a corset? Will I create a belt of some sort to connect the center front with
the center back? I’m not sure yet.
The painting is in my future...I'm still holding out to find the right colours. I have silver and matte black to make a tarnish metal look but am hoping to find a better selection of colours when I get to a bigger city.
I had created this article in a Word File where I had total control of format and image tweaking but I found no way to bring the whole file into this blog and had to start all over. Neither the images or formatting are what they were and while it's very disappointing - at least the information is here.
The Fosshape has been shaped and hardened with steam to get this semi-final look
I used two shades of gold spray paint and painted both the corset and the armor to create a complete look. Now to determine what skirt or pants to make!
This article will outline how I used woven boning and
Fosshape to create an armor look. The end result is not strong enough to be
armor, it is light weight and rigid enough to hold the shape but not rigid
enough to withstand any impact. I’m creating a “woven bone” aperture and
then draping Fosshape over it to create the outer surface. FYI this is my first attempt doing anything like this.
The “armor” that I made is a single shoulder shield,
decorated with leaves. My plan is that it will be the colour of oxidized copper
“verdigris” but at this point I’ve not found paint options (in my town) that
will allow me to get this look. I may have to settle with tarnished silver.
The armor is shown above on black dress-form, against a
black backdrop. I’ve put a white corset on the dress-form so that you can see
how the armor will sit, although it is not hugging the waist in this image and
it is sitting well above the shoulder of the dress-form, which it is supposed
I used Fosshape 300 (the lighter weight version) as that is
what I had, and I used 10mm wide white woven boning (Product Code:15-8110-01, found in the notions section)
and the rubbery tips. All items were from Farthingales.
Woven boning is like “Rigelene” was. There are long narrow
hard strips woven together with thread. You can sew through it and when you cut
the ends they fray and can be prickly; hence the need for tips.
Scissors, extra long yellow head pins, a
marking pen, pliers (you’ll need them to pull the needle through the woven boning) and a thimble - yes, you absolutely need a thimble! A leather needle, buttonhole thread and glue.
These are not my good fabric scissors! Not just any needle will do, an ordinary “sharp” will break
when going through the woven boning. I used a Leather Needle. The thread is not ordinary thread, you need heavier thread.
I chose red so it will be easily seen in this sample. The glue I used is “Jewel Glue” by Unique as it’s what I had
Gloves help protect your hands from heat. I got these in the
garden section of a “Dollar Store”. The white are gave no protection! An oven
protective sheet helps to.
If you have a heat set press for setting heat set crystals you may use the
sheets that are used with it. Some form of heat it required to set the Fosshape,
I use and inexpensive steamer and I used a tradtional iron too. Last but not
least I used a dress-form to “drape” my project on and I picked up spray paint
from my local hardware store where the only option was automotive spray paint.
I chose silver and matte black…though I’m holding out for other options.
Woven Boning Aperture
The woven boning comes on a coil and unlike
steel, woven boning will retain the curves of the coil when you unpack it.
To straighten the woven boning I pressed it between a Teflon
sheet and the Teflon coated ironing board cover with my iron at “silk” setting.
I pressed a few meters at a time.
draped a length of the woven boning on the dress-form to get an idea of the
length of pieces I would need and then I cut 4 pieces to that length. I slid a
rubbery tip onto the cut ends and then began to pin them to the dresform to
create the desired shape. The images below show a woven bone with a rubbery tip applied to the end and the shoulder of the dress-form
with the woven boning pinned in place.
the woven boning in place takes some “playing around” to get the shape you want
and structural soundness (which you get when bones cross each other and can be
secured together). The dress-form I’m using is a “Uniquely You” one and it is
made of foam, so I can stick pins directly into it. This ability made this step
of the project easy. I also pinned every intersection of thebones, by just sticking the pins straight
through. The yellow heads make them easy to see and to handle. I continued to pin pieces in place to create the shape I
wanted and the structure needed to support that shape. Note that I've pinned directly to the dress-form as well as pinning the boning together at each intersection.
This process takes time. You may place and adjust the boning
several times until you are satisfied with the shape and the stability of the
I love these yellow head pins because they are easy to see,
easy to remove, strong enough to go through a few bones and long enough to go
into the dress-form when I need them to. Once all the pieces were where I wanted them (this was
determined by the shape and how stable the structure had become) I added two
short pieces of woven boning at the back and front where all the pieces
all the pieces were pinned in place it was time to start hand sewing the
intersecting points. Basic needle and thread cannot be used as the needles
break and the thread frays. A leather needle works well and heavy duty thread
doubled, makes the job go more quickly, but it is still time consuming!
were times when I needed to use needle nose pliers to grip the needle and pull
it all the way through two or three layers of boning.
I got to a point where I needed to remove the “cage” from the the dress-form in
order to complete the sewing I made sure I still had pins at every intersection
of boning that had not been sewn yet.
remove the cage from the dress-form and stitched the intersections where they
are pinned, being careful as I worked around the pin points – it was a bit
all the intersections were stitched, I added a dab of glue over the threads on
the inside of the cage to secure them. To be honest, I cheated and gluded some
of the intersections without having stitched them (but I don’t recommend
skipping the stitching). I used a piece of the boning and dipped it in the
glue, then slide the glue between the two intersecting bones (not removing the
pin) and used a paper clip to add extra pressure at the contact point until the
finally decided which corset I’m going to use as a foundation for this shoulder
armor and I placed it on the dress-form and set the cage in place. It would be
best to determine this first…unless like me, you are just experimenting.
This is all for today, perhaps the computer it tired or maybe it's me. No matter what I do and formatting has been a nightmare. I will attempt to blog about how I used Fosshape 300 to cover the aperture and create a base, on another day...if I don't toss my computer out the window first! All images show up perfectly in the back end...but not on the blog post, so I can't see how to fix them.
You can find out more about Fosshape by clicking the link below