Sew a two-layer Victorian style corset | Faye C. | Skillshare

Sew a two-layer Victorian style corset

Faye C., White Rose Costumier - Costume Maker

Sew a two-layer Victorian style corset

Faye C., White Rose Costumier - Costume Maker

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17 Lessons (46m)
    • 1. Introduction

      3:04
    • 2. Tools and materials

      4:18
    • 3. Altering piece 1 and 2 for a shorter busk

      3:10
    • 4. Altering pieces 3 to 6

      2:24
    • 5. Marking boning channels (pieces 2-5)

      3:20
    • 6. Marking CB/piece 6 boning channels

      2:51
    • 7. Inserting the right-side busk 1

      3:46
    • 8. Inserting the right-side busk 2

      1:29
    • 9. Inserting the left busk

      2:15
    • 10. Sewing pieces together

      2:00
    • 11. Cutting and preparing steel

      2:13
    • 12. Sewing CB edge, top-stitching and boning channels

      3:39
    • 13. Setting eyelets

      2:00
    • 14. Making Bias binding

      3:04
    • 15. Sewing bias binding

      4:09
    • 16. Lacing the corset

      1:56
    • 17. Finished corset

      0:50
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About This Class

Learn how to sew a two-layer Victorian style corset which will give your a beautiful, flattering figure. Traditionally made using a centre front busk and lacing at the back, this intermediate class will show you what tools and techniques to use to create a garment which will sculpt your figure.

You will have sewn before and may know a little about commercial patterns already. This class will help you create a test garment or 'mock-up', so you can practice and master the skills required and give you the confidence to make your first corset.

Meet Your Teacher

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Faye C.

White Rose Costumier - Costume Maker

Teacher

Hello, I'm Faye, the White Rose Costumier. I'm a professionally trained Costume Maker with experience in making costumes for TV and theatre.

I have worked for BBC, ITV and on the internationally popular costume drama 'Outlander'. I have also worked on set managing continuity and costume changes.

I have taught Costume Design students at degree level as well as complete beginners. I specialise in historical costume construction, both menswear and ladies wear. 

My goal is to encourage people to take up sewing and take the fear and frustration out of it by offering classes which give you step-by-step instructions to create great work. Work that is well sewn and will last. It can be extremely satisfying when you create something completely by yourself and, most impo... See full profile

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Transcripts

1. Introduction: well there my name's day and welcome to my making video. So what I'm going to show you in this video is how to make attrition Traditional Victorian . So this is going to be six panel corsets or six panels each side. It's going to be two layers. Although we're using the same public for each NAO you would would not use a top play like a Russian layer. And underneath you have your mining and also has the bus down the middle. My patent was actually ah a little bit longer. So what I don't actually use short of Boston just to show you give, you know, tribute to learn how to ultra partner, you do what you as Victorian costs will be a little bit longer front. So, and you're gonna use a few a couple different types of steel of flat steel and aspiring steals, all introducing them things to let you know it's not a cast far. Begin a sign you need to have done a little bit so it before you need to be able to follow a pattern. Understand great minds. I understand the bias. If you are a beginner, I do have a beginner's video. Where I look at makings basic seems and talk through some of the basic tools that I use, which may be beneficial glitter those You may be a little bit of experience as well. So you very welcome, Teoh. Have a look that beginnings video as well. But here we're just gonna focus on on more mortgage immediate level. So we But I want you to treat this class as more of a practice session marked. You're gonna be making more of a mock up. I want you to use this as an opportunity to get used to some of the basic techniques and course it making and then apply them to the real thing. Want your confidence in the techniques that I'm going to be showing you? So here. I'm just going to show you some coup. Teal thought right now this is traditional Cossitt making fabric. It's very strong, tightly woven. Natural fabric doesn't fray, doesn't tear very, very strong is also quite expensive. So there are alternatives you can use to this. You can use cotton drill, which is quite strong, but not so expensive. We can use simple calico calico cotton now that you could see the deficit. It's not as strong. It's a lot more flimsy, so we are gonna use it as more of a trial garment, so we'll make a start and don't put too much pressure on yourself. That can be a little frustrating when you start making a new type of government for the first time, especially when you're using tools and materials you've never used before. So take your time with it, re watch videos over and over, and please do get in touch. If there's anything you're not sure about, what you want. Some further clarification on any of the videos, so off we go, good look. 2. Tools and materials: So this is just another introduction to some of the tools and materials were going to use to make the course. It This is one of the major ones. So this is your boss sick, And this girls at the front of the car sit down. The centre front is the main opening, a swell as lacing round down the back. So this is how you would get in and out of your closet. You'll notice that on the right inside the two hooks on that end closer together. So that indicates that that's that needs to go to the bottom of the class it on. I'm just measuring here so you can see So it's about 11 inches s. That's really important that you know the length of your boss, because you may need to world your parting accordingly. And here you have what's called him all. So this is until that allows you to make calls without actually cutting the vibrant. You can see there that it's very sharp, got a very sharp point, but get slightly wider so it tapers down to a point. So you watch here. I'm going to make a hole in the fabric and push too far as a kind of they have also, that's it's an alternative to use that instead of rotating hope want you don't have one. Sometimes I prefer using this one. So here I'm going to show you how we transfer important marks onto our fabric. I've got a tracing wheel here with spikes on day. I also have some carbon paper. Now the carbon paper is works base. So what happens is we can transfer points created by the spikes on the tracing wheel onto the fabric. As you see you see here what I'm doing. So just gently rolling across the top of the fabric with carbon paper, right side up underneath, and there have transferred some dots underneath. So that's how will transfer markings were born in channels? Unseen allowances. The's are the islets, and this is what they look like. So there's two parts to an island, so this is the bottom part, that flat piece that girl's underneath on. If you remain part of your island, that's got a bit of a stem on it, so they will be placed through the front through the layers of fabric, and you would place the ring on the back, and then you would use on Eilat setter O r Harmer. That's the contraptions. You combine that especially for a touching and securing islands. And I'll show you in a later video how we do that, you've got on Eilat. Tall puncher, rotating water, those little spikes you can see there. They're actually different size holes for different size islets s so you can turn it around as I'm doing there that you can pick the size you want. So I'm just rotating there to seek and have a good look at it, so you'll rot. It's what size you want. Place it on your fabric. Now, this public is just one layer in its quite thin. So it works a bit better and more stable fabric. So I'm having to stew, wiggle it around a little bit just to get to the whole. You can see me doing there so they could take up, and there you can see that the whole that's formed you might get you make this place look on one edge. Sometimes you can you can just trim that off. It does happen sometimes. So there I've got my home. So here we have the two different types of steel that we're going to use that bone because it's so that would have got in front of me. Here is the spiral steam stillborn ing that this tends to go on areas which they had their records, and I'm just putting a cap on the end. So when you put you steal, you going also needs him metal caps to go on to be under that I'll show in a later video how we touch them. But that's basically what they look like. Eso. When you cook the steel, it can be quite sharp. So that do need to be protected a worthwhile goal for the fabric the other steel will use. And is this flat steel? Now the flat steel only goes in the back of the course It so the last piece around the center back either side of the islands. So just to show you here, how how wide the pieces I'm using here it's about 1/4 of an inch that you can see they're both pieces, depending on what Putney use and make sure you get the right width of steel 3. Altering piece 1 and 2 for a shorter busk : So here is the first piece off my six piece Scott in Patton. And there is the Busk. I'm just pointing out there that the mosque normally has two hooks closer together. They normally go the bottom end of the course it so I'm just measuring the mosque there and laying it against what will be the set of France or fastened down down the front of your body. Andi, I need to shorten the Patton got you can see there the buskers significantly shorter than the pardon. Some just measuring where where I wanted to finish starting. Finish down that center, marking some seem lines and some seam allowance lines as well. So I need to measure on Denmark and cut Theo excess patent that I don't need so marking it out there on the top. And I need to do Matt there as well for the stitch line. And then I also need to do that to the bottom part of the pattern that you can see there. So again I'm marking how much I'm going to need to remove, and I'm trying to follow the top and bottom edge, so I'm retaining with line. The original line of the patent. So there I'm retaining that that diagonal edge on the bottom, and I'm retaining the curve on the top. I'm just starting the boss again, just double checking that my measurements are. Okay, so now I'm bringing in peace to on what I'm doing here. I'm folding back with seam allowance on laying it on what would be the stitch line so that I can I can extend that curve from peace one into peace, too, so that it doesn't look. It doesn't look angular, and it continues and flows nicely on there. I'm following again. The top edge of that Patton to reshape that top line, do the same the bottom. So again, turning back seam allowance and also much in my not just all straight lines. There are notches, and they need to lay on top of each other, and that helps you align your patent correctly on. Once I've done that, I can be sure that it's exactly in line and then remarked, my lines I'm doing there on peace to so they flow on from peace one or two piece, too. I'll continue this throughout all for the rest of the pieces through 3 to 6, and you'll see that in the following video 4. Altering pieces 3 to 6: So here I'm not working on pieces. 3326 So you can see here. I'm just repeating what I did with one and two with the top edge just lining up my seen lines on the notches, doing the same to the bottom entries. Well, so I'm retaining that curve there. As you can see, same curve that we have right to the very bottom on the edge of the it's Now pastries fall again, being maintaining that curve on the top, it seems from nice curve them, no uncles. And when it comes to peace, five. I'm actually going to lift, but you can see that I'm lifting the curve. Actually want the curve to come up as I don't want the back to be to shop. So I'm actually altering the curve there to bring it up. So it's it's higher at the buck, so you'll see with peace. Six. It straightens out, so I'm trying to read Retain that height there. So what? This is p six and I'll sit along the centre back. You could see maintaining the curve again. And once you wanted the Patton and traced it off, this is what it will look like 5. Marking boning channels (pieces 2-5): So now we're going to, uh, Mark, where are boarding panels? The go to go eso I'm only working with a select amount PCC's and work with these 2345 And I'm going to measure where I want my boarding channels to go. So I'm indicating there that thes two has one channel pace 32 channels Peace Fall Channel pace five has two channels And what we don't do when you're marking these channels you want to give it just happened. Teoh Farm curve. You want to follow the curve as well? I should see on the diagram. So I'm just using my tape measure now. And what I'm actually doing here on this piece to is I'm actually finding the midpoint. Allow me to place steel in the exact center, so I'm finding the midpoint now. The steel I'm going to be using is is about quarter of an inch. So I want to I want my channels to be about one centimeter. There's enough room for the channel to slide in easily. Saw quarter sentiments roughly about seven millimeters. Now there's no hard and fast rule about how and where you should put your channels it's entirely up to you. It's normally down Teoh size partner using so small of the publicize, the less channels will use. What if it's a slight largest size and you'll need more channels, for example, those areas where we've used two channels you might want to have three. If you feel it's wide enough, candidates, it s o. Don't be too worried about having any rules here. Just follow the diagram. And if your partner is wider, when there's room for another boat, then by all means out another boat. So now I'm turning my set square around and it has gone. I wanted to be sent me a ride. I'm going to use centimeters that are on the edge of my set square there, some lining up one cent to meet along the pencil line of strong on the edge, drawing down the edge to Karima sent to me to channel. So that's my channel done on peace to So now why wouldn't he do is then transfer that marking to my So what? My partner, peace and my piece of fabric here. Now there's a couple of ways you can do this in any way you want whichever you you feel you like to work. So I got some carbon paper here so you can transfer recusing carbon, carbon paper and tracing well, you or I'm going to use here. It's called a friction pen, so they think will disappear. When you I in the fabric, the angle disappear. So you need to repeat this process for all your the faces. 6. Marking CB/piece 6 boning channels: So now we're going to work on P six, which is the last piece, the piece that will go down the center and you can see here that I've marked where my islands going to go. So now we need to mark where each steel wants to sit alongside three islands, some going to show you how to do that. Now I was fetching steel so you can see how wide it is. So it was about quarter God of niche about seven millimeters s so you can see a fair in line that are drawn that so I've measured from the package A centimeter that you see there don't dashed lines on. That's where my first channels go to go on I want to do now is just measure using using that the line for the where the islets will sit a center line on I want to have an equal distance between each channel. So that's what I'm doing here. So I'm just working out how much distance there is between where islets will sit on where the channel will sit and they're marking darts. A za gradually go along the line. So now I'm going to use my six square draw that line in. So this will be the outer edge that's owning channel. I'm gonna use the centimeters that I have there on my set square online and upset to me to line along that pencil line of the strong so I can draw the in a line of a centimeter channel. I'm just gonna draw into red pen data. So you're going to see a little bit better. Okay, Okay. And that you have two channels either side of where the islets will go, and then markings could then be transferred onto your fabric. 7. Inserting the right-side busk 1: So here we have the boss that's that will go down the centre, front of the class. It you can see it's made of do sections and we're going to work first on the hook section and to see their how it fits together. So we need to retain that function within the car. Sit. So no, I'm just measuring it. You should always to. So it's about 11 inches about 28 27 28 centimeters. So here in my two pieces for the right side, so one is the front piece. One is the lining, but obviously I'm using the same fabric both, and I've transferred my seen lines. It's on dealing with the first part right side of the busk, and I'm just making sure that it fits again. And now I'm going to start making some markings a directly onto the fabric using a friction pen. So this think from this pain will actually be removed by heat from an iron. So what I'm doing, I'm marking. I'm laying against the stitch line of the centre front, and I'm marking where I need to leave gaps so that those hooks can come through the fabric So I'm working down the center from to do this. No. See, there I have some little openings. We can see where the hooks are going to protrude through. So we now need to lay that on top of my piece, right sides together. I don't want to stitch straight line going up, but I need to miss out those little gaps where the hooks are going to go through so you can end it with several jobs. You can see that I actually missed one out some just returning back. Doesn't making sure, like, marked at the mall correctly. So there you can see I've got five gaps for the hooks to go through, and I'm gonna stitch a line in between all those gaps. So I'm gonna stop pinning now when you're pinning, you want to pin go through the line and then out on the same line on the back. Help KP as accurate as possible. 8. Inserting the right-side busk 2: So I stitched the same down, and I'm not trimming away the excess at 60 have left gaps there, some home to trim between each on both sides. Then I'm gonna take it over to the iron and give it a press. So open out. I'll take it to the eye and give it to the press. So now it's been pressed. Open it back up, and I'm going to insert the mosque through those little holes that we made for each cook. So it's in between the seam allowances. That and then once it's in place and then going to tuck it down. So that's what it looks like when it's together. I'm not gonna tuck it down. And then so it. So I'm changing my foot to foot to make this so through the right side in completely s Oh yeah, lining my machine. The zipper foot helps me get really, really close to the mosque edge. So it's just from the bottom, which is a little different because it's a corner, so you'll have to take care as I'm doing there a little bit. Stop start, but it's a straight up, then straight round again, and there it is 9. Inserting the left busk: Yes, and I'm going to show you how to insert the left side of the ball. So this is the side that it's going to hook on to. As you can see, that s so make sure that you actually have your boss the right way Or actually have it the wrong way, and you'll see me correcting sharply. The two closest Bronx should be at the bottom as a rule of thumb. They should be at the bottom edge of the cost. And now I'm Lenny over the top. Did they are just turn it around and correct myself. So I'm laying the hooks over the top there, and I'm using that as a guide to mark where I need to make my holes So you don't use it. One of your whole punching tools. You can use the rotator punch there. I'm going to use the all and then it's a case of gently pushing it over these prongs. So that's where your left side of the bus is going to sit. But now I need to talk that in. So there is tucked in and it's ready to go over to the machine. So again, I'm using a zip foot here to help me get as close as possible to the edge of the busk. Now, when I start here, I'm starting at the wrong end thesis. Just so don't hit the camera. So do start from the other. And you can see there that it's not going onto the gap there. Um, so do stop from the other end. It's just the same procedures before start off from the bottom around the curved edge straight up and then around the curl again when you get to the top and this is what you're finished, what you look like so well doing, if you've completed this stage 10. Sewing pieces together: so we're going to start. So, of course, it together here. I've already started in the luxury, some peace want. He's, too. And what you can see there is that I've sandwich piece, one of the top and bottom layers in between the layers of peace to top and bottom. You'll also notice that I dreamed the same. I used cutouts and not Jesus V shapes in the scene there. And I've done that along the curves, mainly, just helping lie better. And what I'm sure now is that I want what I want you to do at this stage is then do edge. Stitching along the edge of peace to that will keep them laced together, and then that will allow us to then attack. Okay, so I've no stitched up edge down right on the very edge. Lee There. It's not pulling apart or they're nicely stitched together. Now that's going to be some wish between peace. Three. So that's the fabric and the lining. Of course, I'm here on issues in the same fabric, with top fabric under on the lining, so there's peace three. That's what is going to look like, and I want to much Michelle. I'm using the right side, see? So it's a longer edge that I'm looking at here that I need to touch two piece too well, then need to pin them together much ing all the seam allowances on stitch in line within taking over to the machine to sew. And that's what we'll end up with their need to quote, not choose in the curved parts and press fucked. So we've now repeated that same procedure. So I offices 123 together, and you would repeat that folly through two p six, which is your final pace on the centre back. 11. Cutting and preparing steel: So here I'm going to show you how to prepare your spiral steel eso You will need some wire snips to cook the court. This particular steel as I'm showing you there, I've already pretty is just a little sample, so I've already pre court on. There is your steel cup. You place on the end of your still boning, and then you'll need two sets of pliers secure. It's a bond bomb plier around aside to secure it, so she squeeze it as well as one over the top. What tends to happen? You squeeze one side. I knew that side pushes outwards. I'm going to show you what to do with the end of your what? Steel. So I put the steel, and I've also filed it down, got rid of all the sharp edges, but still need to add a bit protections or it was a bit of tear me. The Buskin tape are much using the cable take but masking tape. He's fine. Some go to put a piece off, wrap it carefully around each end of steel. What, um, to do it is do it so that it doesn't increase any book. It's bulky. My interview, sliding, stealing to channel. So I'm wrapping it round. I'm also trimming it around the top. So it falls and overlaps nicely as you're sticking it down so you can see there as I'm as I'm going, I'm also trimming it and making it is easy as possible for me to flatten it to prevent any book what steps done. Well, then do exactly the same on the other end onto the other pieces of flat steel that I'm using. 12. Sewing CB edge, top-stitching and boning channels: So these next few videos are going to be all about two top stitching. The first thing I want to show you is that we need to go all the pieces together number we need to finish up a centre back. So what? I'm doing them fold in under my seam allowances and then we need to talk Stitch that together to close that opening up the back So there is finished now stitched that down right on the edge. Now what we need to do is top stitch. All our seem lines. So here it the machine. I'm just going tone each scene line one time being is accurate as a Cumbie when I worked her way along each piece exactly the same way. So here are the top sections being done down them seem lines. Now I'm going to transfer my bond channels. So we've already looked at this previously. You can do it with the Patton, but sometimes things might change when you may be going to fit. Fit the car. Six are maybe not turned out the way you wanted. When? When you've been making it. So it might be that you need to change things so don't be worried if you find yourself happened. Teoh reshape our move channels to different places. I'm just demonstrating that sometimes that happens. So marked all the channels here. You can see it's nice and clearly there. So they all no need to be stitched down on when I stitch them. I'm going to start from one end and then go back to the top end where I started. So don't be tempted to turn the costs around. Keep starting from the top end. Okay, so I'm stitching Theo channels at the back here, so these will be for the Straits dio. So notice here, I'll get to the bottom and then I'll go back to the top again. So I'm not turning the course it round. That's to stop any rippling that might occur in the fabric. So I'm just gonna show you here. I'm gonna pop the flat, steals down the centre back peace so they should glide in and out is easy. Is that on? Your steel should be 1 to 1.5 centimeters shorter than the actual length of the channel. This is just to enable you to have room for the binding that you'll song so on on the end. Okay, so here I've switched all the boning channels in and they're ready enough for me to insert the spiral steel boning And again they should go in and come back out nice and smoothly on . Don't forget to leave a gap, top and bottom. So you've got room for the binding. The next thing we're going to Dio is set our islands. 13. Setting eyelets: So first, make again. I'm using all made my whole I'm going to the first part, which is the part with protruding at that. That piece that you can see up front. It's tackles through the front through the roll on and then we place the ring top. Now the ring. It has a kind of curved edge on a flooded the flat edge needs to go down on top. They decide of where you displace three island, then this'll is and and find it. Set a and or I'll let clump, which you compare just the dog cost too much. Alternatively, if you buy a kit of islets, sometimes they come with on Eilat set of which you have to use a hammer Teoh settlement, Which works. Okay, if you want to use one of them. So you do need to use a little elbow grease to to get them to, uh, they fought way go. So then you need to do that for all the islets down the back. Of course, it 14. Making Bias binding: So this is the bias binding maker. What happens with this too, is a place he's biased fabric to wider end off the tool. You see the corner going in there on, then you pull it out. You're their friend and I unit, as it should pull it out on that helps to greet you by bias. Binding. Now, here I'm just demonstrating how to make it easy for yourself. You need to use a pin. When you place the fabric, it's vice binding maker. The pin helps it come out the other end. And that's the end that you then I am flat. So we're doing binding across the top on the bottom of the car sits. So just take a measurement upon what you think you're going to need. What I'm doing here. I'm just showing you how to find your grain lines are fine. Just straight grain can hear I'm using my set square, which is that a fact degree angle, so I can easily find my bias line. But if you don't have one of these tools I have, What you should do is when you find your straight grain, you need to draw a an accurate square you would then draw from corner to corner. And that will be your true bias. And I'd recommend a minimum of an inch wide bias binding. You could make it a little bit more. If you feel you need to. Once that's drawn, you can then snip it out. I'm gonna show you if you link, serve it to short. This is a method how you touch strips of bias binding together. So got to ends there on have placed them together at right angles. You can see there where I've got that that straight long edge. And then if I fold it back out, you can see that we've got nice connection there. Nice, smooth lines going from either side would then take that to the machine. I don't hear people my threads. Then snip off those little trying goalie parts. They're sticking out and then you press it flat. You press that scene down parts sticking out and there you've got perfect peace. Continuous bias binding. So the Shoni here at the Alyan. So you need to pull the till article and it should quote you the Rendon it So it's iron does. It comes out of the bison, that binding maker, and you had a nice, flat piece of bias binding, they concede flaps their for their the pieces, the I just that you need to stitch onto the course It If you don't want to make your own vice binding the dialled means you can buy some no. 15. Sewing bias binding: so it must deal. And now it's time to stitch on the bias binding. So 1st 1 punch it was trimmed down my Roy juice to run about half a centimetre. Then I'm going to bias binding, working from the right side in my bias binding edged image and then through the because of the way we buy in, didn't we find in those lines that will be your guide as us as a stitch line. So once it's all pinned on and you take it up to the machine, you need to stitch down that line. But I ended in, so I'm using a thes e people here again. This is just so I don't interfere with any of the boning authority in there. And I'm following the line that was created when I ironed my bias binding so we no need to lie in it. It will push to the other side. What you want to do at this stage is getting I units again into place on make life easy when you're you're no top stitching it. That's what it would look like when it was it when it's pinned and ready to so. But then we need to focus on fixing the edges of the bias binding. What we do here is fall to the binding back on itself. So back, forward, then back again. So what kind of song? It's inside out. So what? So that when we turn it back through our the edges will be caught on the inside and you'll so it and use the center from edges a guide. So that's where you going to So So So not now on dykan. Trim off the excess and then turn it through, and this allows you to get a nice square edge. Using this technique can be a little bit fiddly, but dont correctly it gives you a really nice, neat edge. And then again, I need to fold back by finding I have done their pin it in place from right side, and then we need to stitch it down from the right side of the course. It so it's top stitching, and we're catching the edge on me. This is quite difficult to dio, so if you'd rather do this stage, that's fine. You can just sew it by hand, but if you wanted to do it by machine, this is how you do it. So here, because it's a little bit balky, that edge now, some actually using a plant just to help me get started. Sometimes if it's bulky, the needle can sometimes get a little bit caught and doesn't move very well. So I'm using a little bit of Clint to get me started there, and it's just top stitching all way along, and that will catch the layer underneath. Just take a lot of practice. This so do Hunt, so if you'd prefer 16. Lacing the corset: way to the final stage, making it's all late, apart from this place back. So I'm just starting to see the diver money on the side. That s when you start your costs facing. Find the midway point he needs in it quite long. Piece of lace. Sometimes you need a 23 meters, depending on size on Did you start off by by threating down into the islands? Keep following the diagram. I should go down and eventually you'll reach a point where you have the two pilots that are placed a little bit closer together. So that is your waist point, and at that point we do something a little bit different. We threat them in the West, so we end up with some longer pieces in around the way. So that's the area where we way pull the waist height tired at that point now, so I could put, but I don't. So I'm making loops at that point, and then I carry on threating down to the book knows loops are often referred to as Bonnie years, and that's that's That's the tightest part of the course that that's where it really will restrict your waist. So it's really important that you get them bits correct 17. Finished corset: So here we are. Here's the finish Corset Well done, Teoh. If you manage to get this finish and extra well done, if this is the first caution you've ever made, it's always a really, really great treatment to make your first car sits. I do keep referring back to the videos as much as you need to. Let's take a look at the bark so the buck ideally should have a two inch gap down the back . This is slightly more. It doesn't really matter too much if it's more. But that's that's the idea. What you're aiming for eso I really hope you enjoy the class. Please do send me some images of your results will be fantastic to see how you got on and please give me a share and follow me on social Major and thank you for watching and happy sewing