Make Own Custom Wedding Dress: Step-by-Step Sewing and Design Course For Beginners

1. Let the Magic Begin!: Hi. Ever wonder if those divine wedding and red carpet dresses are crafted by some mystical chosen few? Spoiler alert! They're not. You can make them, too. I'm Tatiana Kozorovitsky and I'm here to demystify the couture arts for you. Welcome to my class! Creating a one of a kind gown is an unparalleled thrill. Whether it's for a delighted client or your own daughter, there's nothing like seeing a bride's eyes light up. Plus, if you adore sewing, wedding dresses are where the passion meets the profit. Creating wedding gowns is one of the most lucrative niches in the sewing industry. In this class, we will design a timeless Bustier corset dress with an elegant, multi layered tulle skirt. This design offers versatility and sophistication, equipping you with the skills to create a wide range of styles beyond just wedding dresses. This class is for everyone from seasoned dressmakers to newbies with basic sewing skills. All you need is a sewing machine and a smile. We'll cover every step together from selecting fabrics and taking precise measurements to those all important finishing touches. I will share industry standard techniques to ensure your creations come together seamlessly and look stunning. Our skirt features 12 layers of tulle, easily cut into circles and half circles. I'll reveal how to calculate the perfect number of layers for that dreamy look. For those who like numbers, I'll provide all the necessary formulas and calculations. And the piece de resistance, this class includes so ready corset patterns in an astounding 112 sizes, ranging from XXXS to XXXL. Yes, you heard correctly, 112 pattern files to accommodate any size, body type, and bust size. This is my commitment to ensuring you achieve the perfect fit on the first try. Experience stress free custom tailoring crafted with love. I'm super excited to share this with you. Get ready to create magic. See you in the next video. 2. Measurements: We begin our work on any garment with designing it. That is creating its sewing pattern. The pattern design is based on the measurements taken from a person or a dress form, and it doesn't matter whether we alter the existing pattern or design it from scratch. The measurements taken properly will be crucial in any scenario. To show how measurements are fundamental to pattern design, I have pinned a mockup made from the paper pattern details glued together. Explaining the rules of taking a particular measurement, I will be able to show which section of the pattern corresponds to this measurement. Measurements should be taken in life size without stretching or weakening the measuring tape. For the convenience of demonstration, the dress form being measured is lying on the table. We will create a Butier with cut off cups. For such a design, other standards are needed than the ones for the construction of a garment with one piece cups. In our case, several special measurements that have to do with the size of the cups are taken instead of the standard measurement bust circumference. If the bust circumference measurement is not required, we will first take the underbst circumference measurement. It is taken horizontally in parallel to the floor. Half of this measurement will correspond to the sum of the segments on the pattern along the underbst line. The underbst front measurement is taken along the underbst line from one side seam to the other. Thi additional measurement shows the position of the side seam along the underbstline, and a half of its value will correspond to the sum of the segments along the underbstline on the front details of the pattern. The waist circumference measurement is taken horizontally. Half of this amount will correspond to the sum of the segments of the pattern along the waistline. Waist front measurement is taken along the waistline from one side seam to another. This additional measurement indicates the position of the side seam at the waistline, and half of its value will correspond to the sum of the waistline segments on the front details of the pattern. Let's take special measurements for designing the pattern of the cup. To properly take these measurements, the client must be wearing a fine bra of the balconet style with the cups lined up with underwires. A proper underwire I have attached to our dress form will help me show you how to take the measurements. For the vertical cup arc measurement, draw an imaginary vertical curved line from the top of the cup to the underbst line through the apex of the bust. The required point at the underbst line is marked by the position of the underwire. The value of this measurement taken from a person will be equal to the length of the seam of the bottom of the cup, plus the width of the top detail of the cup. For the horizontal cup arc measurement, position the measuring tape horizontally through the apex of the bust and measure the distance from the outer side of the underwire to the inner one. This measurement corresponds to the length of the horizontal seam on the cup. The arc length of cup insertion measurement. Taking this measurement from a person is a painstaking task, so you'd be better off not to do it. Instead, get an underwire that matches the size of the client, measure its length, and add 1 centimeter to its value. The resulting value will correspond to the length of the arc for the cup. The length of the underwire measurement is taken in life size. Take the underwire and measure its length. For the top cup arc length measurement, measure the distance between the ends of the underwire in the arc stepping up half a centimeter. This value equals the length of the upper edge of the cup. Corset center height measurement. This is the distance from the waistline to the lowest point of the neck line on the front. Model back height measurement is the height of the back detail at the center. This value can change as a result of improving the smoothness of the upper cutting line. This value also depends on the distance between the eyelets and on the technique you choose for working on this part. This is why this measurement is called model. Top edge length without cup measurement is the length of the top edge of the garment aside from the cup. Instead of taking this measurement, you can measure back below the bust. This is done on the back along the underbst line. On the pattern, a half of this value should be equal to the sum of segment lengths along the underbst line. It is not a good idea to rely on this measurement when measuring along the bust line because the top line of the garment is often located below this measurement on the pattern. Model length of the side seam measurement. Normally, to get this measurement, you need to measure the figure on the side from the waist to the bust line and add one to 1.5 centimeters to this value. When adjusting the pattern, the height of the side seam can be changed to get a smoother top line. That's why this measurement is also called model. Waistline to the underbst measurement. The position of the waistline in relation to the underbst line depends on this measurement. We take it from the underbst line to the waistline. On the pattern, this measurement corresponds to the length of the vertical curve under the bust. 3. Bustier Pattern Printing: H In this lesson, we'll discuss how to prepare and use the Butier pattern for your dress. I will be creating the dress on a dress form that corresponds to a size 75 B and a height of 165 centimeters, about five feet 5 " or taller. To download the sewing pattern set files, visit this URL and click the Download button. After downloading, print the required pattern file based on your measurements. The files can be printed using any standard home or office printer. Be sure to select print at actual size or scale 100% in your printer settings. The grid on each pattern sheet represents one by one centimeters, 0.40 0.4 ". To print the pattern correctly, ensure your printer is set to scale 100% or original size. The printed pattern includes all parts of the Bustier, including the cup components. On one of the last sheets, you'll find the pattern for making a foam cup. Additionally, the final sheet contains a pattern for a push up pocket, if you wish to include one, as well as a drawing of a suitable metal frame for this cup size. When you go to purchase the metal frame, it's advisable to bring this sheet with you. You can compare the actual metal frame to the drawing to ensure it matches. I'll be using a metal frame slightly shorter than the one shown in the drawing. It's acceptable if the frame you select is up to 2.5 centimeters, 1 ", shorter than the one on the pattern, but it should not be longer. When checking the fit of the frame, you can gently pull it sideways like a spring to test the alignment. You will need these paper patterns to create a mock up and determine if the pattern fits correctly. If any adjustments are necessary, you will make all these corrections on this printed pattern. For cutting and further work, you'll need to print the pattern on newsprint. Newsprint is available in both stationary and needlework departments. It is thinner, semi transparent and allows all pattern lines to be clearly visible on the backside when printed. To print the patterns on newsprint, you need to print the pattern in mirror image or flipped horizontally. This ensures that you have patterns for both the right and left halves of the Bustier and the parts are symmetrically placed. Please note that the printed pattern sheets, as well as the main pattern sheets, include seam allowance tunnels and markings for the boning. On the cup pattern sheets, you will also find markings for decorative hems and hem lines. If you made any adjustments to the pattern during the initial preparation, be sure to transfer all those changes to the pattern on the news print as well. 4. Materials for the Dress: In this lesson, we'll go over the materials you'll need to make the Bustier and layered skirt for our dress. Marcosete fabric will be the main material for sewing the Bustier. This Nylon mesh fabric is stable in all directions, meaning it does not stretch along the weft or the edge. Typically, it is used as a bra cup liner or to reinforce the bridge between the cups. However, in this project, we will be using it to cut and sew the entire boustier. To reinforce the cups, we will use reinforcing nylon netting, also known as corset mesh. This fine mesh fabric, often used to reinforce skirts or falbalas to help hold their shape, has a cotton weave and can crumble slightly. For the bias tape known here as oblique bake, it will be used for making waiters and edging in its fully opened and unfolded form, the width is 4.5 centimeters, 1.8 ". With seam allowances pressed open to 3 centimeters, 1.2 ", and in its pressed flat folded state, the width is 1.5 centimeters, 0.6 ". Tunnel tape will be used on the inside of the cups to hold the metal underwires in place. This tape can comb in different forms, such as with a highlighted tunnel and a velvety texture on the front side or as ready made tapes with one seam that turns the fabric into a tunnel. Any type of tunnel tape will work for our needs. You will need a pair of metal underwires that fit your size. These should have a height difference of 2 centimeters, 0.8 " between the center and the side when positioned as they will be in the finished cup. The lacing on the back will be created using tape with installed eyelets, which is typically sold by the meter. The tape used here is 2.5 centimeters, 1 " wide. With a three centimeter 1.2 " spacing between the centers of the Gromets. This double sided tape allows you to wrap it around the vertical raw edge of the back and sew it into place. To strengthen the Butier, plastic bones will be used. These bones are sold by the meter with a width of 5 millimeters, 0.2 ", and a thickness of 1 millimeter, 0.04 ". For the lower part of the cup lining, we will use nude fabric, which in this case is a thin satin. The Butier will have removable straps which can be attached or detached at the client's request. Elastic strap will be used for these bra straps. This elastic band is both stretchy and dense with a mat side and a shiny satin side. We will use the mat side as the front. For the straps, you will need two cuts of 55 centimeters, 21.7 " each, along with four plastic rings for straps, two plastic strap length regulators, and four linen hooks to attach directly to the Bustier. For the skirt, we will use plain Capron tow. When selecting materials for the dress, make sure to pay attention to the color of the tool when it is folded in several layers and preferably rolled before cutting. Also, ensure the tool matches the color of the fabric used for the Butier. Remember, white has many shades. If the marqueesett has a slight yellowish tint and the tool for the skirt is icy white like pure winter snow, these materials will not match. Always compare the fabrics together to ensure their shades are consistent. For the skirt lining, you can use any light softly flowing fabric. Crepe chiffon will be used here. The skirt lining can be either long or short and this choice will not affect the sewing technique, only the cutting length. The lining can be somewhat translucent due to the large number of layers in the tool skirt. 5. Preparing the Pattern for Cutting: Before cutting the fabric, we must first prepare our patterns. We'll be working with patterns printed on newsprint. Start by cutting each pattern piece out of the paper, leaving small sections of paper around the edges to free the pattern from excess paper. Mm. After trimming, I organize the pattern pieces into three stacks. One right stack. Oh pattern number one, the centerpiece of the Bustier. Oh pattern number two, the intermediate pieces of the Bustier. Oh, these patterns will be cut from two layers of Marqusette mesh fabric. Two, left stack. Oh pattern number three, side details of the front. Oh pattern number four, side details of the back. Oh pattern number five, center details of the Butier back. Oh, these patterns will be cut from a single layer of Marquette mesh fabric. Three, center stack. Oh pattern number six, top cup patterns. Oh patterns number seven and eight, bottom cup patterns. Oh, these patterns will be cut from two layers of marquisette mesh fabric and one layer of reinforcing Nylon netting. 6. Laying Out the Patterns on the Fabric: To demonstrate how to lay out the Bustier patterns on the fabric, I'll show you a graphic representation. For the Bustier take a 45 centimeter, 17.7 " wide piece of marquisette and fold it as follows. Fold 28 centimeters, 11 " at one end, and 22 centimeters, 8.7 " at the other end. Align the pattern pieces according to the arrows, ensuring they run parallel to the edge of the mesh fabric. For the cuffs, you will need an additional rectangle of reinforcing Nylon netting, measuring 45 centimeters wide by 22 centimeters long, 17.78 0.7 ". This will be layered over the 22 centimeter long section of the folded marquisete. After laying out all the pattern pieces according to the preliminary plan, ensure that all pieces are laid face down. Focus on the section where the cup details are located. This area should consist of two layers of marquiset fabric folded at 22 centimeters, with the fold on the right side topped with a layer of reinforcing Nylon mesh fabric. For convenience, cut off the section with the cup parts and set it aside for now. Before pinning the cup details, complete any additional preparatory work. Now, pin the remaining Butier details to the fabric. Remember to align the pattern arrows with the lengthwise grain of the fabric. I will be cutting with a rotary cutter, so only a few pins are needed to secure the patterns. Insert the pins using a sliding motion to avoid distorting the fabric. Remember, accurate cutting is the first key to success when making corsets. Once all the parts are pinned, you can begin cutting. You may divide the fabric into several sections and place them on the cutting table for easier access. 7. Cutting the Bustier Body Parts: As a reminder, all pattern pieces should be placed face down on the fabric. When cutting, follow the seam allowance lines on the patterns. As you cut out each pattern piece, place them in a box that you have prepared in advance. This ensures the pieces remain clean, undamaged, and organized. Continue cutting until all the parts of the corset body are prepared. However, note that we will need to revisit the center back details of the Bustier as these parts will be adjusted to accommodate the tape with Gromets for lacing. Since we're using factory made tape, which has its own specific width and sewing characteristics, adjustments to the pattern are necessary. 8. Adjusting the Pattern for Lacing: To avoid getting the cut fabric pieces dirty, I will demonstrate the necessary adjustments on the paper pattern printed on regular printer paper. Before you start making changes, have your tape with grams, a ruler, and a pencil ready. I'll use a felt tip pen to draw the changes for clarity, but in your actual work, you should avoid using such pens. The tape we are using has a width of 2.5 centimeters, 1 ". What's crucial here is determining the width of the back piece that can fit inside the tape and how much of the tape will protrude from the edge of the piece. Start by trimming off the seam allowance from the center of the backpiece. Next, insert the pattern into the tape and measure how much the tape protrudes beyond the edge of the pattern. In this case, the protruding width is 1.2 centimeters, 0.5 ". To maintain the original width of the back piece, you need to trim 1.2 centimeters, 0.5 " from the pattern's edge, which corresponds to the protruding width of the grommet part of the tape. Measure the width of the original pattern before cutting. In this example, it is 9.6 centimeters, 3.8 ". No after trimming along the marked line, reinsert the pattern into the tape and measure the distance from the tape's edge to the curve. The final width of the pattern with the tape attached should still measure 9.6 centimeters, 3.8 ". This adjustment ensures the center back pattern now accommodates the width of the lacing ribbon. Remember, if you're using a different ribbon size, the protruding part may vary, apply the principle of this alteration to your specific situation. Now, take the center back pieces out of the box and starting from the finished edge of the fabric piece, not from the edge of the paper pattern, Mark 1.2 centimeters, 0.5 " away from the edge and draw a cutting line. Repeat this for the second pattern piece. Finally, cut along the marked lines to adjust the patterns. This ensures the width of the center back pieces is correct for the lacing ribbon. 9. Preparing the Cups for Cutting: In this lesson, we'll focus on preparing the fabrics for cutting the cups. Before pinning the cup pieces to the fabric. There are a few preliminary steps to follow. Each cup will be cut from three layers of fabric. Given that these materials are thin and delicate and the cup pieces are small and challenging to work with, it's crucial to stabilize the layers before cutting. This will help ensure precise sewing, better alignment, and a clean, high quality finish. First, gather all the paper pattern pieces that you'll use for cutting. If you're sewing a variation like mine, not using a foam pattern, you can use this paper pattern for our purpose. Start by trimming all the seam allowances from the paper pattern pieces. Then take the two layers of marquisete we folded earlier. Place the Nylon mesh fabric over them and staple the layers together to prevent them from shifting. Using a thermal pen, which can be erased with heat, trace all the cutout parts along their contours. Precision is not critical here, but remember to flip the patterns over to make the cutting symmetrical. The lines should be faint, visible only to you. Within the traced areas, you'll need to stitch the layers together. Prepare several needles with thread beforehand and avoid making knots. Hand stitch within the circled areas of the patterns to secure the fabric layers, ensuring they remain aligned during sewing. This step helps eliminate defects like unevenness and ripples. After stitching the first piece, cut the thread without making a tack. Continue this process for all other pieces. The direction of the stitching doesn't matter, and the stitches can be of any size. The key is to avoid tightening the fabric. It must stay even and flat with no shifting between the layers. Once the stitching is complete, lay out the paper patterns on the stiff nylon mesh fabric. Position the pattern pieces face down, aligning them roughly with the stitched areas. Most importantly, ensure the patterns directional arrow aligns with the fabric's grain line. Pin the patterns in place using a sliding motion. Now, the cups are ready to be cut. 10. Cutting the Cup Parts: After preparing the fabric, cut out the cup pieces and store them in a box to keep them clean and organized. 11. Cutting the Lining of the Cups: Next, we'll cut the lining for the bottom part of the cup. Pattern number 13 includes two patterns, one for the lining and one for the push up pocket. The pocket pattern should be cut along the slant line indicated. I'll be using a piece of Marquisete remnant to cut the push up pocket. While the lining will be cut from shiny satin, with the shiny side facing the body and the mat side facing out. Before cutting, quilt the entire area where the pieces will be cut. In this case, it's not necessary to mark the stitching area. Simple hand stitches will suffice to join all the fabric layers. Cut out the pattern piece from the paper. Then take the quilted fabric plank. Fold the quilt in half with the mesh fabric facing up. Although the direction of the grain isn't critical at this stage, I'll still ensure that the arrow on the pattern is parallel to the fabric edge. Position the pattern so that the area after the slant line lies on the quilted section. Pin the pattern in place and cut it out using scissors or a rotary cutter, whichever you prefer. Repin and make notches along the seam allowance on the pocket line. On the backside, draw a line between the notches where the marquisete was cut to form a pocket for one cup. Flip the cutout piece over, and using just the paper and a layer of marcosette cut along the pocket line to create the second cup pocket. In this way, you can cut the cup lining and the push up pocket simultaneously. 12. Determining the Length of the Tunnels for the Bones: Oh. With the cutting process complete, we can now start preparing to sew the body of the corset. Besides joining the parts together, we'll need to attach a ribbon to form the tunnels for the bones. First, we need to determine the required length of the ribbon for the tunnel. Take your paper patterns and measure the length of all the highlighted gray lines, summing them up. Use a tape measure, starting each new measurement from where the previous one ended. For the fore part or the front half of the corset, excluding the center front piece, the ribbon length is 82 centimeters, 32.5 ". Multiply this by two to get 164 centimeters, 64.6 ". Next, add the length of the center back piece of the corset, which is approximately 25 centimeters, 10 ". The total length of ribbon required for the tunnel is approximately 189 centimeters, 74.4 ". First, we need to calculate the total, take 82 centimeters, multiply by two, then add 25 centimeters. This gives us a total of 189 centimeters. For those using inches, it's 32.5 " multiplied by two plus 10 ". The final result is 74.4 ". Please note that this length is an estimate to help you prepare the bias tape in advance. The exact length may vary during the sewing process. 13. Preparing Ribbon for Hems: All right. In this lesson, we'll prepare the ribbon for hemming the waiters. The original ribbon comes pressed flat in half, with the seam allowances also pressed inside. The first step is to fully open the entire strip, exposing the seam allowances along the full 189 centimeters, 74.4 " length. And then carefully press it flat in half. Once the ribbon is pressed, you need to draw a marking line on the folded ribbon. For a five millimeter wide bone, the ideal width for the weiter will be 1 centimeter, 0.4 ". From the fold of the ribbon, mark 1 centimeter, 0.4 ". The remaining 1.2 centimeters, 4.5 " of ribbon width will serve as the seam allowance. This 1.2 centimeters, 0.5 " is included in the seam allowance of your pattern and is the optimal size for sewing the ribbon onto curves. Use a thermal pen, one whose ink disappears when exposed to heat to carefully mark the entire length of the prepared ribbon. We'll begin sewing the corset body, starting with pattern piece number one, the center front piece. In the center of this pattern, there is a buttonhole that will be sewn slightly differently from the others. Therefore, the ribbon for this area must be prepared differently. Measure and cut the ribbon according to the length of the center buttonhole. When sewing, the seam allowance should be 0.5 centimeters, 0.2 ", half the width of the hems. This allows for precise positioning of the ribbon on the pattern. The seam allowance tunnel width will remain at 1 centimeter, 0.4 ", while the seam allowance itself should be reduced to 0.5 centimeters, 0.2 ". In other words, the width of the ribbon from the fold should be 1.5 centimeters, 0.6 ". Accuracy is crucial here, as any discrepancies will affect the neatness of the final stitching. To recap, mark 1 centimeter, 0.4 " from the ribbon fold for the seam allowance tunnel and 0.5 centimeters, 0.2 " for the remaining seam allowance. Trim the seam allowance, leaving only 0.5 centimeters, 0.2 ". This way, you can attach the prepared ribbon to the center line of the front piece and sew a precise machine stitch. Now let's move on to the sewing machine. 14. Preparing Pattern #1: In this lesson, we'll focus on preparing pattern piece number one, which involves careful handling and stitching. Without removing the paper pattern from the fabric, start by working on the semicircular areas of the cup sleeve. Make sure the tack is turned off on your sewing machine, and then stitch along the drawn line of the cup sleeve on both sides. The stitch length should be set to 2.5 millimeters. Next, remove the pins and carefully separate the paper pattern from the seam allowance along the stitches on both sides. Be cautious not to tear the entire paper pattern as you do this. Oh. Once the seam allowances are clear, it becomes easier to detach the rest of the paper pattern from the fabric. Set the paper pattern aside. You'll need it again shortly. Trim the seam allowances close to the stitches, leaving about two to 3 millimeters, 0.08 to 0.1 ". If your mesh fabric is elastic enough, you may also trim the remaining seam allowance. Turn the piece right side out and press the edges flat with an iron. Now, place the fabric pattern back onto the paper pattern, aligning the edges to restore the fabric pattern to its original position. Pin the fabric pattern in place. When you pin the fabric pattern back onto the paper pattern, you may notice some deformation. You might need to make some adjustments to return the pattern to its original shape and size. This is just the first stitch, so keep in mind that the mesh fabric will undergo more deformation during further processing as you sew all the parts together. This is why I recommend using paper bases when sewing with delicate and very thin fabrics. It helps achieve the best results. Now that the pattern size has been restored, you can add reference marks. We didn't add any reference marks during the cutting process. As notches are not advisable on thin fabrics. Now that both raw edges are hemmed, you can mark the reference points labeled with the number two, which correspond to the correct positioning of the cup. Initially, mark these with a thermal pen and later you can duplicate them with thread. To secure the size of the ear, part of the pattern, reinforce it by stitching along the very edge of the piece. For pinning, I use special very thin pins, the kind used in entomology, the study of insects. Remove some of the pins and stitch along the center line of the pattern. Adjust the machine stitch length to 3.5 millimeters. The paper pattern should be on the bottom and the mesh fabric on top. Critically examine the resulting pattern. The center stitching should be perfectly even, flat, and without any irregularities. Next, take the prepared ribbon for the waiters and align its seam allowance with the center stitch. Then sew the ribbon in place. Again, do this without tacking. Fold back the hems, noting that I have not yet removed the paper pattern, even though it might make it harder to remove later. For now, I'm keeping the paper pattern on the fabric. Stitch along the very edge of the folded back stitch. Then stitch along the second edge of the ribbon. To ensure the hems are the correct width, test them by inserting a test bone that you will use throughout the process. The bone should fit snugly into the hems, filling the entire space without strain. I prefer narrow hems, so I aim for the smallest possible size that fits the bone comfortably. The next step is to reinforce the vertical raw edges of the pattern with the future hems. The prepared ribbon, which has a seam allowance of 1.2 centimeters, 0.5 ", will be sewn onto the two raw edges of the pattern. Precision and neatness are essential here. Only after this step should you remove the remaining pins and release the pattern from the paper base? The time spent on this meticulous work is an investment in the neatness and quality of your final product. Here's what the pattern will look like once it's released from the paper. This is likely the most challenging pattern you'll work on in this project. If there are any small bits of paper left on the fabric, you can easily remove them with a brush or needle. Any paper remnants left in the area where the cup is sewn in will be hidden under the cup and won't be visible. 15. Preparing Pattern #2: Now that Butier pattern number one is ready, let's move on to pattern number two. The process is almost identical to the previous one. Begin by stitching along the eyelt on both sides of pattern number two. Setting your machine stroke to 3 millimeters. Remember not to use any fasteners at this stage. After stitching, release the pins and carefully remove the paper from the seam allowance, ensuring you don't tear the paper pattern. Then gently remove the entire paper pattern from the fabric. Next, trim the seam allowance, leaving just a few millimeters. In areas with sharp curves, you can make additional notches to allow for more accurate turning. Repeat this process for the second symmetrical pattern piece and then sew the two pieces together. After sewing, return the fabric pieces to their corresponding paper patterns and pin them in place. Even with careful sewing and ironing, you may notice some deformation when you pin the fabric pieces back to the paper patterns. This is normal. Make sure to transfer the mark number four onto the fabric, which is crucial for positioning the cups correctly. As with pattern number one, stitch along the edge of the ear with a machine pitch of 3.5 millimeters. Again, do this without using fasteners. Now, reinforce the edge of each pattern piece that will be sewn to pattern number three. This area includes the buttonhole, which will be turned off on pattern number three. Remove any pins that might interfere with sewing. Even though you've already marked the seam allowance on the ribbon, double check before you start sewing. The line for sewing the hems will also be the line for sewing the pattern pieces together. Unlike pattern number one, you can either remove the paper pattern now or use a different technique. Pin the paper pattern in the seam area and cut the paper pattern, leaving only the part of the pattern in this area. The rest of the paper pattern can be removed. However, if you prefer, you can leave the paper pattern attached and remove it later. Repeat the same steps for the second piece of pattern number two. 16. Preparing Pattern #3: With pattern number two ready to be sewn to pattern number one, set these pieces aside for now and start working on pattern number three. This pattern doesn't require hemming or any special operations. Simply sew the ribbon for the future hem line along the side raw edges. Position the ribbon so that the marking aligns exactly with the stitching line and sew the reinforcing stitches. That completes the work on pattern number three. 17. Sewing Patterns #1 and #2: Now it's time to join patterns number one and number two. One unique aspect of joining patterns in a Butier like this is that the seam allowance tunnels remain on the front side and are overlapped by the seam allowance tunnels. Therefore, place the pieces with their undersides, wrong sides, or paper patterns facing each other. Align the stitching lines and corners of the patterns precisely using pins. The sewing line and the line on the paper pattern of pattern bert will serve as your reference points for joining the patterns. Make sure the patterns align perfectly. There should be no fullness or gathering of one pattern onto the other. If necessary, repin to even out the lengths. After the patterns are pinned together, sew along the stitching line, following the previous seam allowance line. You can now turn on the automatic tacking or do it manually. Remove the pins and the paper pattern. If you'd like to experiment, try sewing one version without the paper and compare it to another sewn with the paper. Here's what you should have. The seam allowance tunnel is 1 centimeter, 0.4 " wide. The seam allowance is slightly wider at 1.2 centimeters, 0.5 ". Now, trim the seam allowance so that it's narrower than the welt. I leave about 8 millimeters, 0.3 " rather than cutting it down to the raw edge. Next, fold the seam allowance on pattern number two. Note that on the paper pattern of pattern number two, this seam allowance is marked with a gray strip that transitions into a white seam allowance. Your goal is to straighten the band so it fully unfolds. The backside of pattern number two should lie flat without any puckering or overlapping of the backstitch. Now, stitch along the very edge of the folded ribbon. No tacking is needed here. From the backside, the pattern should appear completely smooth. After that, stitch along the second side of the backstitch. Constantly ensuring that pattern number two stays flat and smooth. Test the hems by inserting a bone. Now that you've added thickness from the seam allowance, make sure the bone fits smoothly into the hems without any obstacles. The test should confirm that the hemming was done correctly. Repeat the same process for the second side, joining the pieces on the underside along the curved seam. 18. Sewing Pattern #3: Now that you've sewn patterns number one and number two, it's time to work on pattern number three. Keep in mind that when sewing these patterns together, you'll need to join the convex and concave raw edges. To simplify this process, notch the seam allowance of the concave edge. This allows the raw edge to straighten and take on a convex shape, which will match the shape of pattern number three. The notched raw edge needs to follow this convex trajectory. Remember, the patterns are pinned underside, wrong side, to underside, meaning you should see the front side of the corset where the waiters are located. The underside or wrong side is the backside. And on the parts that still have the paper pattern, the underside is where the paper is attached. Scallop the raw edges, pinning them together with precision, and then machine stitch along the seam allowance of pattern number two. Once stitched, remove the pins and carefully remove the paper from the seam allowance. Then from the entire pattern number three. Next, trim the seam allowance, leaving about 8 millimeters, 0.3 ". After trimming, unfold the backstitch so the pattern lies flat. Then turn the backstitch towards pattern number three. This area, indicated by the gray strip on the pattern will now become a buttonhole. Sew the seam allowance with two stitches, one along the folded edge of the seam allowance and the other along the second edge of the ribbon. As usual, test the width of the waiters by inserting a bone. The bone should fit snugly inside the waiters, fully enclosed by the buttonhole without any room to move. Repeat these steps with the second piece of pattern number three, sewing it to the opposite side of pattern number two. 19. Sewing Pattern #4: H. If you're sewing along with me, you'll be pleased to know that we've already completed the most challenging steps of assembling the corset body. The most difficult tasks were sewing the center backstitch, processing the cup eyelet and joining the curved raw edges. Now we'll sew in straight lines. Your task is to attach pattern number four followed by pattern number five. The lacing strap will be added later. Just like with the previous patterns, you'll need to sew a backstitch along the raw edge of pattern number four, where the gray stripe is missing on the paper pattern. Carefully position the ribbon, ensuring the backstitch is aligned correctly, and sew the ribbon onto both pieces of pattern number four. H Now, join pattern number four to pattern number three. Turn pattern number four with the underside or paper side up and overlap it with the corresponding part of pattern number three, pinning them together precisely. So along the stitching line. Once sewn, immediately trim the seam allowance without delaying or removing the paper, as it will be easy to remove the paper later. Remove the paper pattern from pattern number four. Next, unfold the back stitch so the patterns lie flat and stitch along the ribbon edge. Don't forget to check that the pattern is fully unfolded. Then stitch along the second side of the weiter. Test the backstitch by inserting a bone. The bone should fit perfectly inside, and the fabric should wrap around it without any issues. Repeat the same operations with the second symmetrical piece of pattern number four on the opposite side of the corset. 20. Sewing Pattern #5: Finally, we move on to the last piece, pattern number five, fold patterns, number four and number five together, underside to underside, and sew them. After pinning the pieces together, sew the seam. Before finishing the seam, sew reinforcing stitches along the center raw edge of the back, attaching the paper pattern to the fabric. This is where the lacing will be placed and you'll need to stitch a foot width away from the raw edge. Now, carefully cut the paper pattern in half, taking care not to cut the fabric. Leave part of the paper pattern on the edge of pattern number five and remove the rest of the paper from under the waiters. Trim the seam allowance and remove the paper from under it. Unfold the patterns, tuck the ribbon, and first stitch along the ribbons fold. Then along its second edge, which lies on the bend. As usual, check the width of the waiters. Everything should be perfect. I've already completed this work on the second side of the corset. Congratulations. If you're working alongside me, the body of the corset is now sewn. 21. Preparing the Cup Hems: Next, we move on to working on the cup details where we'll need to prepare the ribbon once again. To determine the length of the ribbon needed for processing the cups, measure the length of the waters with a bit of extra length for saffety. You'll need approximately 30 centimeters. 12 " of ribbon per cup. So a total of 60 centimeters, 24 " for both cups. The seam allowance width on the cups is 8 millimeters, 0.3 ". As usual, press the ribbon flat in half and then draw a line 1 centimeter, 0.4 " from the fold. This will be the width of the seam allowance tunnel, leaving 8 millimeters, 1.3 " for the seam allowance. 22. Sewing the Bottom of the Cup - Patterns #7, #8, #13: Let's start working on the cups. It's crucial to sew all the parts of the cup correctly, and the pattern provides checkmarks to ensure proper alignment of the corners. On pattern number six, the upper part of the cup, you'll see a mark labeled with the number six. Patterns number seven and number eight also have corners marked with a six, indicating that these patterns will be sewn together along the curve marked with numbers three and six. The point marked six on this curve must align with the 0.6 on pattern number six. Additionally, the edge of pattern number eight, marked with 0.4, should align with 0.4 on pattern number six and 0.2 on pattern number six, should align with 0.2 on pattern number seven? First, make a stay stitch along the line where the cup will be sewn into the corset body. To ensure the stay stitch is accurate, stitch it in the same sequence as the cup will be sewn into the corset eyelet. One, stitch along the line drawn on pattern number six from point number one to point number two. Two, on pattern number seven, a line point number two with point number two on pattern number six, and so along line two to three on pattern number seven. The, on pattern number eight, stitch along line three, four. Four, finally, on pattern number six, close the semicircle by stitching along the line between points a four and a five. These patterns will now be folded into the cup shape ready for sewing. Set pattern number six, azide for now, and focus on patterns number seven and number eight. These patterns should be sewn along line six to three, which will be covered by decorative egging. Following the same method used for the corset body, where the waters were sewn on curves without a gray stripe on the paper pattern, attach the prepared ribbon to pattern number seven. Carefully align the markings on the ribbon with the lines on the paper pattern, and sew the ribbon without making any fasteners. After sewing, trim the ribbon. Check your work by turning the pattern over to ensure the stitching is correct. Once confirmed, you can remove the pins from pattern number seven since it is now secured. Next, take pattern number eight and overlap it with pattern number seven. Aligning marks number six and number three on both patterns, which will crete the curve of the cup. Remember that the patterns are placed with the underside, wrong sides or paper patterns facing each other, so the seam allowance will remain on the front side. Sew the patterns together using the same stitching used for the ribbon. Be precise in matching the pattern pieces, especially ensuring that all horizontal lines align at points number six and number three. This requires carefully docking the corners of each small piece. You can sew with or without tacking depending on your preference. After stitching, unfold the patterns and check that the horizontal lines of the cup align correctly at points number six and three. Before finalizing the sewing of the batting, remove all the paper pieces. The paper should come off easily, and the time spent removing the paper will be rewarded with clean, precise sewing. Trim the seam allowance by one to 2 millimeters, 0.04, 0.08 " to refine it. On this pattern, you won't need to sew a second stitch along the seam allowance. Instead, carefully unfold the sewn pattern to give it volume, fold the seam allowance, and stitch only along its open edge. This completes the assembly of the pattern. Now, revisit the check marks on the cup parts. You've sewn the bottom part of the cup. If you overlay the removed paper patterns, you can transfer the reference marks directly onto the sewn pattern to avoid confusion. Mark number six indicates the arc where the bottom part of the cup will be sewn to the top part. Pattern number six. The arc between marks number two, number three, and a four with the stay stitch indicates the line where the cup will be sewn into the corset. Next, take the lining pattern along with the mesh pocket for the push up pad. Pattern number 13. This pattern also contains marks number two, number three, number four, and number six. Flip the sewn cup, bottom pattern over and position it correctly with the lining pattern. Overlap the patterns, placing them underside to underside, wrong side to wrong side, and align the marks accordingly. Without shifting the patterns, pin them together by aligning Mark number six with the curve seam, Mark three with the bottom curve seam, and Marks two and M four. Distribute the lining pattern evenly over the front part of the cup bottom. Now, sew the lining to the front part of the cup as follows. At the bottom, sew along the stay stitch line. And at the top, hem the width of the foot. This process connects the front part of the cup with the lining. Afterwards, shape the lining on the cup details. The lining pattern design might cause some edges to extend beyond the front part. However, the one piece lining should easily fit over the two piece cup. 23. Sewing Pattern #6: Now it's time to sew the bottom part of the cup to pattern number six. First, sew a stay stitch along the upper raw edge of the cup. However, instead of sewing directly on the paper pattern line, sew 1 millimeter away from the seam allowance. This will ensure that the stay stitching doesn't interfere with the final seam. After this, remove any extra pins. Since a decorative edging will be sewn along the seam where the parts are joined, attach it as usual to the part without the gray stripe indicating the back stitch on the paper pattern, in this case, the bottom part of the cup. The paper patterns have already been removed, use the seam allowance marked on the bias tape as your guide. Be careful not to stretch the bias tape while sewing. And After sewing, trim the seam allowance down by about 1 millimeter, 0.04 ". Next, fold the patterns together, remembering to align the paper pattern on pattern number six with the wrong side of the bottom cup pattern. Start by matching the points labeled number six on both patterns. Insert a pin at point number six on the upper cup pattern and pass it through point number six on the lower cup pattern. Use a sliding motion to secure the pin in the thickest part of the cup. To ensure pattern number six spreads evenly over the bottom cup pattern, notch the seam allowance slightly. Sew the patterns together along the stitching line of the bias tape. Align the corners of both patterns using the stay stitch on the lower cup and the drawn line on the paper pattern for the upper cup, securing with a pin. Carefully match the patterns along the control lines using a vertical pin to pierce the parts in the correct place, and then securing with a horizontal pin nearby. Continue sewing the rest of the cup directly under the machine, aligning the reference lines as you go. Remove the pins as you sew. The quality of the stitching, ensuring it runs exactly along the line on the paper pattern. This step is crucial. Once satisfied that everything is correct, you can remove the paper pattern and trim the seam allowance a bit more if necessary. Be cautious not to trim too much fabric. If you remove too much, it will make stitching the backstitch more difficult because the difference in height will cause the machine foot to slip. Trim just enough to keep the seam allowance within the bias tape. No Start by sewing the reinforcing stitches on the side of the ribbon. As you sew, ensure the cup is spread out well. Once the first set of reinforcing stitches is in place, sewing the second side will be easier. Pay extra attention where the fabric thickens as the machine foot may struggle to pass through these areas. This is how the cup should turn out. Even though the cup is made from very soft materials, it should hold its shape well. Finally, carefully remove all the extra threads that were used to connect the layers of mesh fabric, taking care not to damage the front layer of the cup. 24. Shaping the Cup Trim: Now that the cups are sewn, the next step is to prepare a ribbon for edging them. An ironing board with markings in the form of circles is a convenient tool for this process. To determine the proper curvature for the edging, take a suitable metal frame and align it with the drawn circles on the ironing board. Based on the size of your metal frame, choose the circle that matches the curvature you need. For my frame, the second circle provides the correct path. Measure the perimeter of the bottom cup part to determine the length of ribbon needed and cut the ribbon accordingly. This will make the ribbon easier to work with. Start by pressing the ribbon flat in half. Then align the fold of the ribbon with the chosen circle and begin to shape it into a rounded form. The goal is not to perfect the rounded shape on the first try, but to gently stretch the seam allowances so that the ribbon begins to curve. As the ribbon starts to take on the desired shape, press out any unnecessary creases that may have formed. Next, mark 1 centimeter, 0.4 " from the fold of the ribbon. During the process of forming the half circle, the ribbon's width may become distorted. Therefore, it's essential to ensure that the folded part of the ribbon remains exactly 1 centimeter wide, matching the width of your classic hem. Consistency in width is crucial to avoid warping when sewing the ribbon onto the cup. To achieve this, fold the ribbon along the markings, pinning it in place while continuously checking that the width from the fold is indeed 1 centimeter. I'm working with a cotton starched ribbon, which holds its shape well and bends with minimal warping. If you're using silk or acetate ribbons, be extra cautious as they are more prone to warping. Once the ribbon is properly laid out, fix its shape by pressing it with an iron. Then cool it with a pressing pillow. Afterward, remove the main pins, recheck the width, and press the ribbon flat once more. At this stage, the ribbon should hold the desired shape. Now, set the correct seam allowances on the ribbon. The seam allowance at the bottom of the cup is 8 millimeters, 0.3 ". However, I recommend setting aside a nine millimeter 0.35 " seam allowance on the ribbon because you'll want to sew the ribbon 1 millimeter above the stay stitch line. To do this, place a ruler against the fold of the ribbon and mark 9 millimeters from the fold. Although this step may seem tedious, it is crucial for ensuring the accuracy and quality of the final product. Trim the ribbon along these marks so that the seam allowance is a consistent 9 millimeters. Additionally, to better see the seam allowance, use a thermal pen to draw a line along the fold of the ribbon. Do this carefully without unfolding the ribbon, as unfolding could cause deformation. Now, the sewing line should be clearly visible and you can trim the seam alloance while keeping the ribbon in its flat, press ed state. At this point, the ribbon is fully prepared, and its width should be exactly 1 centimeter along its entire length. The next task is to attach this prepared ribbon to the cup. 25. Sewing the Edging to the Cups: Now that the stay stitching has been completed and the lining is in place, it's time to sew the edging ribbon to the cups. Start by unfolding the ribbon slightly so you can see the line along which you should stitch. Carefully place the ribbon inside the cup with its fold facing inward, leaving the raw edges of the ribbon as the seam allowance. Position the ribbon so that the marked fold is slightly offset from the stay stitching inside the cup by about 1 millimeter, 0.04 ". Begin sewing the ribbon in place, constantly checking underneath to ensure the ribbons fold lies correctly. As you sew, you might notice that on one side, the ribbon goes too deep into the cup, while on the other side, it maintains the proper distance from the stay stitching. If this happens, reduce the seam distance from the stay stitching by half on the side that went too deep. Don't hesitate to rip out the seam and redo it if necessary. Precision is crucial here, as the position of the ribbon will affect the appearance of the cup. If the ribbon on the second cup is sewn at a slightly different distance from the stay stitching, the cups may not appear symmetrical, so take your time and redo the stitching until it is perfect. Once satisfied with the result, the ribbon should be sewn in such a way that it slightly dips inside the cup, and when folded away, it should measure exactly 1 centimeter, 0.4 " in width. You may notice that despite the seam allowances being eight to 9 millimeters, 0.3 to 0.35 " wide, and the ribbon being 1 centimeter wide, the seam allowances appear wider than the ribbon. This discrepancy occurs because fabric tends to warp along slanted raw edges, causing the allowances to stretch slightly on the curved edges. We will align and shape the seam allowances later on. Repeat these steps with the second cup. To make it easier to attach the cups to the corset body, place control marks or dashes at the level of the curve. These marks will help you align the curve of the cup with the vertical curve of the corset body during assembly. 26. Finishing the Cups: Now it's time to join the cups to the corset body. The technique I'll show you makes this process straightforward and doesn't require any special skills. The most important thing is to avoid mixing up the cups. Pay close attention to the joint marks where the cup aligns with the center and side of the corset body. Remember, we made control marks on the cup. One on the central part, one on the intermediate part, and one on the curve in the center of the cup. Start by aligning the machined edge of the cup eyelet with the reference mark, placing it against the stitching of the edging strip. And securing it with pins. Ensure that the patterns align perfectly. No corrections should be necessary. Repeat this process on the second side, aligning the horizontal marks on the corset body and the cup. Position the edge of the corset body's ear against the stitching of the cup trim and fix the parts with pins. Next, align the marks for the curve. This area will have significant thickness. If necessary, reduce the thickness by notching the allowance on the vertical curve of the cup. Be cautious not to cut too deeply, as this could cause the threads to unravel from the seam. Once the curves of the cup and the corset body are aligned, secure them with pins. Spread out the eyelet and pin it along the entire edge of the cup. The process should be straightforward and precise. If done correctly, as demonstrated, you should encounter no problems. Use thin pins and insert them tangentially to avoid distorting the fabric. With the cup securely in place, sew a machine stitch along the finishing stitch that was laid along the ear of the cup. Set the machine stitch length to 3 millimeters, 0.1 12 ". Make neat fasteners at the beginning and end of the stitch. Once the cup is sewn in, the edging tape should fold away neatly giving the cup a polished appearance. Repeat the same procedure for the second cup and then move on to working on the back with tunnel tape. After sewing both cups, turn the garment to the backside, trim the ends of the ribbons and prepare it for the next steps. 27. Sewing Tunnel Tape: In this lesson, we'll sew the tunnel tape to the corset, completing a critical step in securing the structure of the Bustier. First, trim the raw edges of the fabric, removing any excess ribbons. Next, we'll focus on the upper raw edge of the corset, which will involve sewing bias tape and hemming. Begin by marking where the tunnel tape will be sewn. Since the upper raw edge will be finished with bias tape, ensure that the tunnel tape ends about 0.5 centimeters or 0.2 " below the stay stitch, which indicates the position of the top raw edge of the finished product. Mark the positions on the back side, underside of the corset, and on both cups. As mentioned earlier, factory made tunnel tapes come in various types, but almost any kind will work for our purposes. For this lesson, I'm using a velvety tunnel tape that has machine stitching along one side, which gives it a slightly rounded shape. Ensure that the cup trim tape is turned towards the cup on the front side over the top of the cup. Place the tunnel tape with its stitched side against the cup, aligning its tip with the mark you made 0.5 centimeters, 0.2 " below the stay stitch. There may already be some stitches in the area where you'll be attaching the tunnel tape. When positioning the tape, try to overlap these existing stitches without going beyond them. Start sewing the tunnel tape by stitching along its factory stitching line and over the previous stitches. Begin with tacking to secure the tape. Lay the cup flat as you sew, ensuring the tunnel tape is neither stretched nor loose. When you reach the end, cut the tunnel tape at the mark, stopping 0.5 centimeters, 0.2 " short of the stay stitch. Finish the stitching and make a tack. Now that the tunnel tape is sewn on its inner edge, it's time to trim the seam allowances. These seam allowances were left from when you sewed on the cup. Be careful not to trim them too deeply, as this could cause the machine foot to slip during the next steps. Trim just enough so that the seam allowances overlap the tunnel tape, but do not extend beyond it. Work carefully and neatly. Once the seam allowances are trimmed, sew along the second edge of the tunnel tape. As you do this, make sure that the front finishing ribbon remains bent towards the cup and does not get caught under the machine stitching. After sewing the tunnel tape, it's important to test it by inserting the metal frame to ensure the tape is the correct width for the frame. This testing step is essential, just as it is when finishing any waiters. With the metal frame test complete, remove the frame. Now, finish the cup by folding the edging tape to the front side and sewing it in place with machine stitching. And that's it. While edging, sewing tunnel tape, and sewing the cup itself are often considered challenging tasks in bra or Butier construction, this method allows these operations to be performed quickly, easily, and with excellent quality. 28. Finishing the Top Raw Edge: We're nearing the final steps of constructing the Butier. Now we'll work on finishing the top raw edge. I've already measured and prepared the necessary length of bias tape for this process. The bias tape has been slightly stretched and pressed to achieve a consistent width of approximately 1.8 to 1.9 centimeters, 0.7 to 0.75 " along its entire length. To ensure a precise and symmetrical finish, particularly in the area between the cups, follow this method. Center marking. Fold the bias tape in half and mark it center. You can use a heat pen or simply rely on the crease line from folding. Turn the Bustier so that the front side is facing you, identify the front side of the bias tape, and align the center of the tape with the center of the Bustier. Secure this alignment with a pin. Pin placement. Look for the stay stitching along the top of the cup. This stitch should be 1 millimeter, 0.04 " above the actual seam allowance. Where the stay stitching intersects with the finishing stitch, place a pin 1 millimeter down from the point of contact. This will ensure the correct seam allowance. Align the bias tape at this point, pinning it vertically first to prevent shifting and then securing it with a horizontal pin. Repeat this on the other side of the Bustier. Sewing the bias tape. Start sewing from the center of the Bustier and work outward in both directions. This method helps maintain symmetry. If you begin from the edges, the center of the Bustier might skew, leading to an uneven finish. Begin sewing without any fasteners, starting from the first pin fixed point. Ensure that the Bustier lies flat and even on the surface as you sew a perfectly straight stitch to the second pin fixed point. Continue sewing. After removing the pins, unfold the Bustier and the bias tape. Sew a machine stitch 1 millimeter below the stay stitching, passing over the cup. And continuing with the same seam allowance to the end. This completes the first section. Repeat for the other side. Turn the Butier around and sew the same machine stitch on the second side. Make a small overlap stitch in the center, aiming to hit the same stitches and sew to the first checkpoint. Unfold the cup, lay it flat, and continue sewing the ribbon with the same seam allowance. Check your work. Review the stitches to ensure accuracy. Fold the seam allowance to the backside and unfold the bias tape to see how it tucks. To ensure the tape fits well around the edge, turn it up on the seam allowance and sew another stitch. This machine stitch should be 1 millimeter above the seam allowance. By stitching on the seam allowance in this manner, you simplify the process of turning up the tape. Before proceeding, trim the seam allowances above the cups and at the center of the Butier, to make it easier to twist the ribbon. Ironing carefully iron the top stitching. Start by pressing the ribbon flat in the center using special wooden irons and cool it with wooden pads. If your ironing molds allow, clamp the ribbon over the cup in the correct position and secure it with a press iron. Once the spot has cooled, remove the pins and the cup from the mold. The ribbon should now be securely fixed in place. Repeat this process with the ribbon on the second cup. Take your time, as this is the most delicate and visible part of the dress. Any imperfections will be noticeable. Carefully and delicately, iron the cups themselves as well. Iron the straight parts. Turn up and iron the ribbon on the straight parts of the Butier, on the back and sides from the wrong side. Use a wooden iron to cool the ribbon, especially in thicker areas. Don't worry about achieving a perfect hem fixation at this stage. In places where the fabric is thicker, you may need to secure the ribbon with hand stitches later. So it's okay if the ribbon doesn't stay perfectly in place right now. Avoid ironing in one spot for too long to prevent damage. Final adjustments. Take a critical look at your work. If everything looks good, the edging is complete. If you want to iron a little more in some areas, feel free to do so. But remember that it's easy to overdo it. Strive for a balanced finish without excessive ironing. Insert the metal frames. Now is the time to insert the metal frames. Remember that the colored tip of the frame points towards the center. Insert the frame into the tunnel tape so that it fits into the specially allocated tube, not under the tunnel tape. Attach the upper finishing tape. Finally, attach the upper finishing tape with concealed stitches to the curves on the wrong side. This will overlap the ends of the tunnel tape and secure the finishing tape in place. While sewing the ribbon on the top edge, remember to use the test bone, the tool used to check the width of the waiters in the seam where you're sewing the ribbon to avoid stitching all the way through. Keep in mind that plastic bones will be inserted into the waiters later. Hand stitches. Finish by making hand stitches on both sides of the corset. Avoid tacking the ribbon on the cups as visible stitches will show on the front side. 29. Inserting the Bones: M. After securing the ribbon edging along the upper edge of the corset, you can proceed with finishing the center back seam by attaching the strips with gromets. First, process the upper raw edge of each strip. Cut the strips according to the height of the back, leaving a small seam allowance. Ensure that the last hole on each strip is positioned above the line where the skirt will be sewn. Prepare two strips of equal length. To work the top raw edge of the strip, determine the height at which the top edge needs to be folded and fold it on both the front and underside. Wrong side. This will mark the place for the fold. Open the strip and use a needle to push the corner inside. Then using the needle, fold the raw edges of the strip inward, aligning the fold with the needle. This technique will give you two identical strips for lacing processing. As you may recall, the paper pattern on the back pieces has not been removed yet. It has been preventing the open center raw edge of the back piece from stretching. Now, as the raw edge will be worked on, you can remove the paper. Next, take the ribbon with eyelet that corresponds to the back of the corset, fold back the edge as far as the grommets allow, and position the ribbon under the piece. The transparent mesh fabric allows you to machine stitch along the pattern while seeing the ribbon underneath, stitching along its edge. After this, wrap the ribbon seam allowance around the seam allowance of the pattern, almost like packing the top raw edge of the back into the lacing ribbon. Then sew another stitch on top of the ribbon. Change the machine foot to a special single sided foot that will allow you to get closer to the Gromet and sew a stitch that will be the second line of the back stitch cutaway. Even if the cutaway turns out wider than necessary, it is still essential to test it. The second strip with gromts is sewn on in the same way. After both strips are sewn, immediately trim the bottom raw edges. To do this, fold the two strips so that the gramat holes align perfectly with each other and trim the bottom raw edge. 30. Sewing Removable Straps: Now it's time to insert the plastic bones, pips. Before you start cutting the bones, make a small mark on the corset from the bottom raw edge of the corset. Measure 2 centimeters, 0.8 " upwards and make marks on all the waiters. This will help you cut the plastic bones accurately and ensure that they don't extend too far down, which could interfere with the machine foot when the Butier is joined to the skirt. Cut the bones with this in mind. They should stop 0.5 centimeters, 0.2 " from the upper edge of any waiter and end at the lower mark. After cutting the bones to the correct length for each cutaway, round off the edges by trimming the corners. There's no need to use special tools like files. Just trim the corners enough to smooth them out. Also, don't worry too much about the bend of the bones, as they will naturally take the desired shape due to the warmth of the body. Insert the bones into the back strap so that they are inside the backstrap not underneath it. Push the bone down to the bottom mark, but stop 0.5 centimeters, 0.2 " short of the top of the waters. The bones should not press against the upper edge as this could cause irregularities or bumps. Push the bones all the way into the waters under the cups. After marking the length of the bone, cut one and then use it as a template to cut the second pair of bones. This will allow you to prepare two symmetrical bones of the same length for the right and left sides of the Butier, making the work go faster. You can use any convenient tool like a screwdriver to help push the bones into the cutaway. Okay. Continue measuring, cutting and inserting the bones in pairs, ensuring that they fit perfectly into the symmetrical cutaways, and extend to the very end of the corset. 31. Sewing Removable Straps: For the Butier, I provide removable straps that can be fastened and unfastened at the client's request. For the straps, I use strappy elastic bands designed for bras. This elastic band is stretchy, but also firm and elastic. My elastic band has a mat side and a shiny satin side. I will use the mat side as the front. For the straps, you will need 255 centimeter, 21.6 " pieces of elastic. Four rings, two strap length adjusters, and four hooks to attach the straps directly to the Bustier. Start by removing all the hooks, as they will not be needed during the strap sewing process. To make one strap, leave two rings and one length adjuster. Take the elastic band and turn it face up. Insert the elastic with the mat side up into the length adjuster, creating a loop. Then tuck the free end of the elastic into the ring, passing the elastic through it. Leave a larger loop in the adjuster to make the process easier. Next, unfold the tip of the elastic band and insert it back into the adjuster inside the loop, creating a smaller loop. Holding the tip of the elastic, pull it up a bit to enlarge the larger loop, allowing room to maneuver. Pull back all the loops of the halter while keeping the tip of the elastic band pinned to the halter. Set the machine to a small stitch length, about 2 millimeters, and sew the loop, making a few stitches back and forth. Immediately trim the threads and the remaining end of the elastic band on the loop. After pulling the ring a line and pull the other free end of the elastic band. The adjuster should now be in place on the halter, allowing you to adjust the length of the halter if needed. This loop is similar to the one typically made on bra straps. Thread the free end of the elastic band into the ring with the mat side facing up. Create a small loop on the underside, secure it with reinforcing stitches and sew the ring. Remove any unnecessary threads, clean up the sewing area, and trim the excess elastic. Now, you have a halter with its front side being the mat side. The strap will have two transparent rings and a length adjuster on the back. Repeat these steps to make an identical second strap. You can attach the straps to the cups in different ways. One option is to use hooks on the ends of the straps instead of rings and create small loops where the straps attach. However, such a loop is usually slightly outside the cup and can be visible. Therefore, I recommend a slightly different approach. Attach one end of the strap on the cup at a distance of 4 centimeters, 1.6 " from the tunnel tape, and attach the other end of the strap over the back curve. Use an al to bend and open the edging tape. Pierce a hole at the marked spot and widen it with the al. This method creates a hole without tearing the fibers of the ribbon. Instead, the fibers separate to the sides. Insert the hook spout into the resulting hole. Now, sew this hook on the backside. If you plan to add decoration on top of the cup, you can sew the hook through the decoration. The principle of attaching the strap is simple. Hook the straps ring onto the hook. When the strap is taut, as you've provided for length adjustment, it won't slip off the hook. This fastening method works very well. Repeat this process above the back curve. Poke a hole at the marked spot, pull the fibres apart and slip the tip of the hook through. You can first sew this hook to the ribbon and then attach the finishing ribbon to the back. This ensures the hook is very securely sewn on. 32. Sewing Push-Up Pads: To make push up pads, start with pattern number 13. Remove the seam allowances. I use regular neoprene, about 2 millimeters thick, 0.08 " to trace the pattern. You can mark point number six to indicate the top of the pad. Fold the neoprene in half. In this case, the direction of the thread doesn't matter much. Pin both layers together and cut them out. Next, sew around the perimeter of the pattern close to its edge, leaving a small unstitched area for stuffing. After stitching, turn the pad right side out through the hole. The resulting cushion can be stuffed with any filler, allowing you to shape it as needed, adding more filler in some areas and making others flatter. Then close the hole either by hand or by machine, and the push up pad is ready. Now, consider an alternative method for making pads. Again, use pattern number 13 and remove the seam allowances. This time, use a ready made foam cup with an existing push up pad. Apply the pattern to this cup and trace it. If you don't want to raise the bust, using the push up pad for its intended purpose and just want to even out the soft cup, use a part of the cup without the filler and trace pattern number 13 similarly. Cut out the traced pattern along the contour and mark the top reference point for the cushion. Trim the pattern slightly smaller than the drawn outline. You will end up with a smooth piece. You can thin the contour by machine stitching or leave it as is, adjust the shape and thickness of the pad according to your needs. Insert the cushion into the cup pocket, making sure it is positioned correctly, as each piece has a right and left side. Spread the pattern inside the cup pocket, adjusting it as necessary. Each part has its own volume, so it might turn out slightly larger than the pattern. With that, the cup filling is complete and the cup is straightened out from the bottom. You can see the difference between cups without a push up pad and those with a push up pad. The cups look more voluminous from the front when the pads are inserted. 33. First Bustier Fitting: Put the Bustier on a person or a dress form of the appropriate size. This is essentially your first fitting. If you tried on the product before this point, you probably didn't get the information you needed. We always sew corsets and Bustiers almost blindly until they are completely finished. Only when the product reaches the stage of decoration, can you conduct a full fledged fitting? This fitting will reveal either the strengths or weaknesses of your product. That's why, in my courses, I devote significant time to working with the pattern. I do this to ensure the initial cut is correct, as it forms the foundation of the entire product. The client makes the first fitting, essentially, on the finished product. Here's a tip. If you want to check the size of the cup before cutting, I strongly recommend making a model out of soft cardboard or dense paper. Only a cup made from dense material can show you the real picture. No soft mock ups will help with that. So I put the Bustier on the dress form, the very same dress form for which this product was sewn. I checked that the Bustier is the right size for the dress form. Everything turned out perfect. The fit of the cups, the fit of the back. The lacing came together just the way I wanted it to. The waist position is in its proper place. Now, I can start decorating this Butier and then connect it with all the layers of skirts. 34. Decorating the Bustier: You need to do the decoration on a dress form. This is the only way to maintain the correct symmetry, evenness of lines, and accuracy of edging, et cetera. Decorating the Bustier while it is in a soft unfolded state is not advisable. This can lead to skewing and asymmetry. Even if the product doesn't correspond to the size of your available dress form, still try to first pull the front of the Bustier then the back, spreading it on the dress form. If your dress form is significantly smaller than your product, you can always use additional overlays and fillers to increase the size of the dress form. Then put the product on it. If your dress form is significantly larger than your product, then without trying to align the side raw edges, pull the front first and then try to pin the back symmetrically relative to the right and left sides with more distance between the back raw edges. Avoid trying to lace up the product. For decoration, I chose a ready made ribbon with beads, sequins and beads sewn onto it. I will position this ready made ribbon along all the waiters, simply following the lines of the trims. I will initially secure the strips with textile glue. Then these strips should be sewn on with countersunk hand stitches. The decorating process is always time consuming. Since the ribbon has beads and sequins continuously sewn onto it, you need to fix the threads with textile glue in places where the ribbon is cut. You'll need to think through the sequence of decoration on your own. Due to the differences in styles and materials used, the order of decoration can vary, and there are no specific rules for this. Consider everything carefully before you begin. I will start decorating from the top raw edge of the neckline, going around in a circle, starting at the center of the back, through the front, and finishing again at the center of the back. I strongly recommend using textile glue despite the prejudice that glue cheapens the product. In reality, top makers use glue to preposition pieces to ensure correct positioning and symmetry. The end of my ribbon has the beads removed. I trim the tip of the ribbon, fold it up, and secure it with textile glue. Use a small amount of glue, applying it drop by drop. Pressing with my fingers, I glue the ribbon in its folded state. I attach the folded tip to the edge of the lacing and start placing the ribbon along the top edge. I don't use glue yet. I just pin it in the desired position. When working, it's best to get into a comfortable position with the entire piece in front of you. For the moment, my position is not the most comfortable, as I showed you on camera how I would move. Now, I'll place the dress form comfortably in front of me so I don't make a mistake and correctly position the tape. Having reached the second side of the back, I cut the ribbon. Without waiting for the beads to fall off, I apply glue to the threads on the back side. I wait for the glue to dry. Only then do I remove the beads from the edge so I can fold the ribbon in the desired place. The end of the thread is also glued from the front side. Then I apply textile glue to the backside along the very edge of the ribbon. Now I can fold the tip of the ribbon without fearing that the beads will fray. Once the glue has fully dried, I will remove any excess threads. Do not wait for the beads to start fraying from the cut edge of the ribbon. Always remember to apply glue to the threads on the backside. The beads can be removed from the edge of the ribbon, as it's certain that this part of the ribbon will either be folded or tucked under the fixed ribbon in future work. The tip should be secured and free of beads. Be sure to wait until the glue dries. The rules for securing the ribbon with textile glue are very simple. First, spread the ribbon along the entire line. Then remove only a few pins, a few, not all, lift the ribbon in this area and apply drops of glue. After that, return the ribbon to its original place and repin it to the product and the dress form. The reason for this is that if you don't repin the ribbon to the product, you might not notice it shifting before the glue dries. That's how you carefully step by step, work along the entire top edge. The next step is to secure the ribbon under the cup. I follow the same principle. The only difference is that I slip the tip of the ribbon without beads under the previously fixed horizontal ribbon. I pin the ribbon in place, then add a few dots of glue to secure it. Oh I cut the ribbon where the docking will occur and immediately secure the strings of beads on the backside of the cut end of the ribbon. I remove the extra beads, glue the loose thread, and cut it off as well. I slip the tip under the horizontal ribbon and secure it with one or two pins. Be sure to check the result to ensure a good fixation. Don't forget to secure the threads on the cut tip of the remaining ribbon. Place the piece in front of you so you can see the whole picture. I will do the same with the second cup. I think the general strategy is clear. Now I place the tip of the ribbon under the perpendicular ribbon at the bottom of the cup, positioning the ribbon exactly along the horizontal curve of the cup. I'll double check this once I have the dress form in front of me. I cut the necessary length, secure the threads with glue on both cut ends, both front and back. I then slip the other end under the perpendicular tape, spread the slipped tip from the back side, and secure it with pins. Remember, pins are your main helpers. When working with glue, be very careful and neat, trying not to dirty the product. Use a moderate amount of glue when applying dots for securing. I won't show you how I glue ribbons on all the curves of the booster. The principle remains the same. After securing the ribbon along the horizontal cup curve, I will glue the ribbon along the vertical lower cup curve, decorate the second cup, and then start decorating all the vertical curves. One important note, remember the marks on the vertical curves that we placed before inserting the bones. These marks indicate where the inserted plastic bones should end. I will remove the beads from sections of 2 centimeters, 0.8 " below these marks. This will help us seamlessly connect the Bustier with the skirt, as the beads won't interfere with the machine stitching. All the decorative strips are now attached to the Bustier. They are partially glued and fully sewn on with hand stitches. I'll finally trim any unwanted threads along the bottom raw edge, and the boustier will be ready to be joined to the skirts. 35. Determining the Number of Layers for a Skirt: Let's begin working on a multi layer tool skirt. I have 36 meters, 39.4 yards of toll at my disposal. Before we start cutting, the question inevitably arises. How many layers will the skirt need? There is a simple way to determine the number of layers. It is enough to put your hand under the layers, and having achieved the desired transparency, you can count the number of tool layers above your hand. If you want to determine what the edge of the body and lining will look like, you need to put your hand so that you can see both the lining and your hand at the same time. And after that, you can count the number of layers you got. To achieve the airy effect, I will be using 12 layers of toll. The skirt will have four full circle layers and eight half circle layers. Half circle skirt will be the bottom layers. They will touch the legs of the client because in the half circle skirt is easier to move and less likely to stumble, and the upper four layers of the full circle will form the silhouette of the dress. 36. Calculation for Cutting the Layers of the Skirt: Now a little math. Without it, you won't be able to calculate the amount of fabric or the correct cut of the product. Let's first calculate the cut for the layers that we will cut in the style of a full sweep skirt, full circle skirt. First, we should calculate the radius and cut out a circle with this radius. We should get a circle whose circumference length is equal to the waist circumference. The length of the circle is calculated using the formula, L equals two times Pi times R, where Pi is a constant value, 3.14. We are looking for R, the radius, and the length of the circle, which is equal to the waist circumference is 66 centimeters or 26 ". From this formula, we find the radius two times Pi times R equals 66 centimeters or 26 ". Pi times R equals 33 centimeters or 13 ". Therefore, R equals 33/3 0.14, which equals 10.5 centimeters or 4.1 ". Next, we will cut by folding the material in two layers. Let's place the material with the fold on the left and the two free edges on the right. There's an edge at the top and bottom. Our task is to determine the amount of material needed to cut one layer of a full sweep skirt or full circle skirt. From the upper left corner, we'll measure the radius, which is 10.5 centimeters or 4.1 ". Taking into account the seam allowance, I'll draw another line at a distance from the corner, which is r19 centimeters or 3.5 ", adding 1.5 centimeters or 0.6 " for the seam allowance. The length of the skirt I'm going to make is standard at 115 centimeters or 45.3 ". Therefore, taking into account the radius of 10.5 centimeters or 4.1 " from the upper left corner, I have to measure 125.5 centimeters or 49.4 ". I'll mark the cut of the skirt in the figure. R equals 115 plus 10.5, which equals 125.5 centimeters or 49.4 ". Thus, I got the front half of the full sweep skirt or full circle skirt cut. Now I need to cut the back half of the full sweep skirt. For this, I'll use the remaining piece of fabric. From the bottom right corner, I'll set aside the same values. With the radius of 10.5 centimeters or 4.1 ", I draw a line where the skirt will be sewn to the corset, and at a distance of R one equals 9 centimeters or 3.5 ". I'll set aside the radius and draw a circle. This will be the cutting line, taking into account the seam allowance of 1.5 centimeters or 0.6 ". In the same way from the lower right corner upwards and to the left, I measure the radius, which is 115 plus 10.5, equaling 125.5 centimeters or 49.4 ". Thus, the skirt will have a length of 115 centimeters or 45.3 ". Now you need to find the optimal piece of fabric required for cutting the full sweep skirt. In the drawing, you see a rectangle. If you connect the upper left corner and the lower right corner with a straight line, you will divide this rectangle into two right triangles. We know the length of the hypotenuse, which is line AC. This equals two skirt lengths of 115 centimeters or 45.3 ", to which we must add two radii of 10.5 centimeters or 4.1 ". We get the length of the hypotenuse as 251 centimeters or 98.8 ". AC equals two times 115 plus two times 10.5, which equals 251 centimeters or 98.8 ". We know the length of the left cathedis of the triangle, which is line AB and is equal to the width of the material 140 centimeters or 55.1 ". It remains to find the length of the lower caths line BC. Knowing the length of one caths and the hypotenuse, let's use the right triangle formula. Pythagoras' theorem, A squared plus B squared equals C squared, where A and B are the cathets and C is the hypotenuse. Substituting the known values, A equals 140 centimeters or 55.1 ", and C equals 251 centimeters or 98.8 ". B equals the square root of C squared minus a squared, which equals the square root of 251 squared -140 squared, approximately 208 centimeters or 81.9 ", about 2.1 meters. Since the fabric is folded in two, we need two such layers or 4.2 meters or 4.6 yards of fabric. Thus, we've found the length of fabric required to cut one layer of a full sweep skirt. Now, let's calculate the necessary fabric for cutting a layer of a half sun skirt. Since the half sun is a half circle, we'll use the half circle length formula to calculate the radius for cutting the waist of our skirt. The full circumference length is L equals two times Pi times R. Then the half circle length is calculated by. The formula L one equals two times Pi times R divided by 12, which equals Pi times R, and Tismst be equal to the weistgircumference, which is 66 centimeters or 26 ". From this formula, we find the radius R equals 21 centimeters or 8.3 ". R equals 66/3 0.14, which equals 21 centimeters or 8.3 ". For optimal material consumption, I'll calculate the cutting not for one half sun layer, but for two layers at once. I'll proceed similarly to the cutting of the full sweep skirt, meaning I'll lay two half suns on one rectangle of fabric, but with a radius of 21 centimeters or 8.3 ". I draw a new layout and calculate how much fabric I need to cut two half suns on one piece. The one on the left will have one side seam, and the one on the right will have two side seams. So acting similarly to our previous calculation of the full sweep skirt, I measure the radius, which is 21 centimeters or 8.3 ". The width of the fabric is 140 centimeters or 55.1 ", and the length of the skirt is 115 centimeters or 45.3 ". 115 plus 21 equals 136 centimeters or 53.5 ". If we lay out one layer from the upper left corner and the second layer from the lower right corner, then the line drawn from the upper left corner to the lower right corner will be the hypotenuse of a right triangle. We know the length of the hypotenuse or C, which is two skirt lengths of 115 centimeters or 45.3 ", to which we must add two radii of 21 centimeters or 8.3 ". We get the length of the hypotenuse as 272 centimeters or 107 ". AC equals two times 115 plus two times 21, which equals 272 centimeters or 107 ". We know the length of the left cathodis of the triangle, which is line A and is equal to the width of the material, 140 centimeters or 55.1 ". It remains to find the length of the lower cathodis or line B. Substituting the known values into Pythagoras' theorem, A equals 140 centimeters or 55.1 ", and C equals 272 centimeters or 107 ". B equals the square root of C squared minus a squared, which equals the square root of 272 squared -140 squared, approximately 233 centimeters or 91.7 ". Since the fabric is folded in half, we'll need two such layers, which equals 466 centimeters or 183.5 " or approximately 4.7 meters or 5.1 yards. Thus, we've found the length of fabric required to cut two layers of a half sun skirt. From the previous calculations, we can now find the total amount of tool required to cut all 12 layers of the skirt, four of which are full sweep skirts, and eight are half sun skirts. To cut four full sweep skirts, we'll need four cuts of tool, each 4.2 meters or 4.6 yards. Since the layers of half suns will be cut in pairs, we'll need four cuts of fabric, each 4.7 meters or 5.1 yards to cut eight layers. Now let's calculate the total four times 4.2 plus four times 4.7 equals 35.6 meters or 39 yards. Rounding that off, we get 36 meters or 39.4 yards. During the calculation of fabric consumption, I repeatedly mentioned that the layers of half circle skirts will have side seams. It may seem strange why to make the seam on the side of the half sunflower layers with one seam and not to turn the seam to the back and simplify the processing of the back cut. The fact is that the cut of the half sun has an important feature. In a half circle skirt with a seam at the side, the falling folds are distributed evenly around the entire circumference and look the same from the front and back. In a half sun skirt with a seam in the back, the folds are not evenly distributed. In the front, the skirt falls almost straight and the entire volume is concentrated on the back. This option is perfect for a skirt with a train. Taking into account this feature, I choose the option of a half circle skirt with side seams. 37. Cutting the Layers of the Skirt: Since the space here is limited, I will demonstrate the cutting of the tool layers of the skirt on a 14 scale. Let's imagine that you have a large piece of fabric in front of you, measuring 4.7 meters, about 185 " in length, and 140 centimeters, about 55 " in width. This fabric is intended for cutting two layers of half circle skirts. First, fold the piece of fabric exactly in half. It's often easier to control the alignment by focusing on the edges rather than the fold. Position the fabric horizontally for easier cutting. Now, take one of the corners on the short edge that is more convenient for you and bring it diagonally to the opposite long edge. Fold it diagonally again, holding the edge with both hands. The layers may separate slightly. Don't worry about spreading them inside the resulting cone. Just secure the folded part of the fabric with pins. Next, take a measuring tape or ruler and set aside 21 centimeters, about 8.3 " from the corner. This is the radius required for the waist. Place two or three marks along this line. Solid line. Remember to add the seam allowance from this line back toward the corner, dotted line. From the first solid line, measure down the length of the skirt, which is 115 centimeters, about 45.3 ". For accuracy, do this several times along the edges of the triangle and in its middle. You can connect these marks with a curved line. It's more convenient to cut with a rotary knife as it provides a smooth edge without biting into the fabric, which can happen with scissors. If you use scissors, the hem will likely need trimming afterward. Now, cut the first layer. Don't trim the top corner of the cone yet. I recommend labeling this layer immediately. Pin a piece of paper with its name. In this case, it's a half circle skirt with two side seams. Set the finished cut aside and unfold the remaining fabric. Locate the long side of this remnant. Hold the corner of this long side, grab the second edge and align this raw edge with the fold of the tool. Without letting go of the corner, fold the fabric into a cone again. Secure the layers with pins and prepare the fabric for cutting. Lay the already cut layer on top of the newly prepared fabric for cutting the half circle skirt. Since the cut layer is also a half circle skirt, the marked radius and skirt length will match exactly. You can trim both cones together at the narrow end. Using the rotary knife, cut along the edges, using the finished cut as a template. Pay close attention to the bottom raw edge to ensure that all layers are aligned and included in the cut. Finally, you can trim the remaining top corner naturally cutting along the seam allowance line. If you've done everything correctly, the leftover fabric, where the semicircles of the skirt bases were joined will be no more than two to 3 centimeters, about 0.8 to 1.2 " wide. So I've shown you how to cut two half circle skirts with a radius of 21 centimeters, about 8.3 ". Cutting the layers of the full sweep skirt, full circle skirt is done in exactly the same way, except you will cut off 4.2 meters, about 165 " of tool, and measure a radius of 10.5 centimeters, about 4.1 ". The skirt length remains the same. For clarity, let's split the cut layers of half circle skirts. This ensures that we get one layer of a half circle skirt with a fold and one side seam. And another layer consisting of two halves, each with two side seams. Now that all the skirt layers are cut, all 12 layers, we can start assembling them. The first part of the skirt, which we will assemble and fasten together will consist of ten layers. The first two layers, number one and two, will be full circle layers and layers three through numb ten will be half circle layers. I strongly recommend alternating the half circle layers with two side seams and one side seam. Let the even numbered layers be half circle layers with one seam, and the odd numbered layers be those with two seams. In the final step, we will assemble the last two layers, number 11 and number 12, which will be the topmost or outer layers of our full sweep skirt, full circle skirt. Since the layers are numbered, I'll take layer number one, the full circle layer, and begin sewing it. 38. Sewing Skirt Layers - The Sun (Full Circle): Place the sun layer you've cut on the table and begin by working on the back half. Set aside the front half for now. First, you need to stitch together the center seam of the back. To do this, make sure to identify the lengthwise grain which is more stable and the crosswise grain which has more stretch. The back seam will run along the part cut perpendicular to the edge while the side seams will follow the more stable side. After pinning the two back pieces together at the top, mark a 20 centimeter about 7.9 " distance from the top edge. Align the edges of the pieces evenly and start stitching from the marked point down to the raw edge. Gradually, transition smoothly to the seam allowance. I prefer to stitch the tool skirt layers while standing. This allows me to better control the entire length of the raw edge and align them accurately. Since the fabric falls freely from the machine, my knees don't interfere, so the fabric doesn't stretch. The back seam is now ready. Unfold the sewn piece, press the seam allowance downward, and overlay it with the front half of the sun layer. Then sew the two vertical side seams. Once all the vertical seams are sewn, sew a stay stitch along the top edge of the sun layer. Waste. I sew this stitch 1.2 centimeters, about 0.5 " from the top raw edge. This will secure the top raw edge, ensuring that the gathering line remains below the stay stitch. Next, sew the reinforcing stitches along the cut edge. The stitch width should match the width of the presser foot. Continue stitching until you reach the starting point of the back vertical seam. The first layer is now complete. The second layer will be an identical sun layer, and the third layer will be the first half sun layer. Place the first sewn sun layer on a special cone designed for assembling full sweep skirts, full circle skirts. Align the top cutting line of the skirt with your waist line, which is marked on the cone with a white ribbon. Pin the top cutting line of the skirt, aligning the side seams and the back seam along the seams of the cone. Each layer should be placed on the cone with the right side facing inward and seam allowances facing outward. In other words, after finishing the layer on the sewing machine, do not turn it inside out. Instead, immediately place it on the cone. Make sure to smooth out all folds and pleats so the skirt hangs evenly. This method keeps the skirt from wrinkling, prevents static, and avoids collecting dust or small threads. After sewing the second sun layer, place it on the cone and spread it out in the same way. Starting from the second layer, you'll likely appreciate the benefits of using this device. Continue assembling the skirt layers in sequence. The next layers, starting from the third, will be half suns, which should be strung onto the cone one after the other. After adding three or four layers, hand stitch them together using a simple basting stitch. Then continue to sew and assemble the layers until all ten layers of the skirt are completed. 39. Sewing the Skirt Layers - Half-Sun (Half Circle) : The first layer will be a half sun with two side seams. The second layer will be a half sun with one side seam. We will continue alternating, sewing the layers of half suns with two and one side seam. And in the same order, we will string the layers on the cone to assemble the skirts. I sew the vertical side raw edges of the first half sun layer with two side seams. Having sewn the first layer of the half sun, it is necessary to draw a marking for the conditional clasp on its back detail. To speed up and simplify this task, make an ordinary paper template. This way, you will be able to make the marking, first of all, faster and secondly more accurately. Put the half sun on this template, combining the side seams. And draw a line along which you should cut the upper part of the half sun layer. Try to make this cut the same length. I have provided a 20 centimeters long cut, starting from the edge of the pattern. For convenience, put a piece of colored paper under the top pattern. Then you will be able to see the marking line and you will not catch the pattern when cutting. After making the cut, it is necessary to make a stay stitch along the top raw edge and along the cut. I lay the stay stitch at a distance of half an inch or 1.2 centimeters from the edge. I don't make a tack. Stay stitching along the top of the skirt will allow you to control the length of the top raw edge and bring in accordance with the necessary value of the waist circumference measurements. At the lowest point of the cut, I try to pass the stitching as close to the edge as possible. I put the third layer of 12 on the cone, and this is the first layer of eight layers of the half shell. As a reminder, put each layer on facing in seam allowances facing out, matching the side seams and back slits. Without taking it off the cone, I laid out an outline stitch, joining the three layers together, as well as the back slit. Later, when we have to join ten layers of cut for processing, it will be very difficult to put together all the layers of tool. Therefore, it is better to join the tool layers in batches of two, three layers. Try not to make any knots or tacking, so it will be easier to remove the threads of the markings. The fourth layer of the skirt or the second layer of the half sun is a layer with one side seam. In the layers of half suns with one side seam that you will sew, try to alternate the position of the side seam. The moment you make the backcut markings, place the side seam alternately to the right and left. I joined the fourth and fifth layers together. Please note that you must straighten each layer, unfold the hem, side seams, pleats, and folds. This will make your future work much easier and faster. There are now seven layers of skirt on the cone. First, I joined the layers in pairs at the waistline and the slit with hand sewn stitches, and then I joined them together. Now all seven layers are joined together into a single skirt with hand bias stitches. I do not remove the previous sweep stitches and don't let the amount of threads confuse you. Almost all of them will be hidden under the trim. Those threads that will show on the face we will remove. And now we have ten layers of tool on the cone. This is the bottom part of the skirt. In the process of work, you have probably noticed that with each layer, it becomes easier and easier for you to put these layers one on another and position one relative to the other. The skirt becomes tighter and the waistline is reinforced with new stitching. But this may put your guard down. Please don't be lazy and continue to join the layers in pairs or in a group of three and then join this group to the overall skirt with regular sweep stitches. Do not expect that you will be able to easily join all these layers with machine stitching without marking. 40. Sewing All the Bottom Layers of the Skirt Together: A. I've removed the ten skirt layers from the cone. Even though all the layers have been hand basted together multiple times, I will run a machine stitch to secure them together. Next, I'll machine stitch along the cut to secure all the layers into a single skirt. Then I'll finish the slit with bias tape. Sev, as you start machine stitching, you'll be thankful for having carefully basted layer by layer. Skipping this step would make the process much more challenging. First, I stitch along the top edge. Now I sew the cut. Trim any unnecessary threads. The corner where the cut meets has many layers. And if you find it difficult to straighten the cut for bias tape application, you can notch the corner. Make the notch before the machine stitch that connects all the layers. Check the cut line. You may need to trim it, aligning the raw edges of all the layers to create a straight line. Remember, the skirt is still turned inside out with the front side facing inward and the wrong side facing outward. After aligning the raw edges of the slit, open it up and start finishing it with standard 1.2 centimeter, about 4.5 " wide bias tape. First, apply the bias tape on the wrong side, then stitch it on the right side. I finish the slit with an overlap stitch. Press the seam allowance flat so that it covers all the extra stitches and sew it down. When you reach the corner of the cut, straighten it out and continue machine stitching. After finishing the first stitch, make sure that you haven't accidentally caught the layers of tool below the cut. For added security, you can pin the layers under the cut before sewing the bias tape. This ensures you sew it correctly. I unfolded the bias tape to the right side and completed the finishing. This is what the finished cut looks like. 41. Sewing the Top Layers of the Skirt: We are now finishing the top layers of the full sweep skirt, which are the two sun layers on 11 and on 12. After sewing these two sun layers, I place them sequentially on the cone with the full sweep skirt facing inside and seam allowances facing outside, aligning the side seams and slits. These two layers should now be sewn together, first at the waistline and then at the slit. The skirt is still positioned with the wrong side out, and the right side remains inside. Next, I will trim the slit with bias tape, just as I did with the bottom layers of the skirt. I place the bias tape on the wrong side of the slit, overlapping the joining stitches and sew the ribbon on. When you open the cut, straightening it into a single line, pay attention to the bottom layer. It should also be well spread out to avoid pinching it with the machine stitching. After that, I unfold the ribbon to the right side, turn it up, and sew it down. Since these two layers are facing, the base of the cut should be stitched at the corner. Fold the cut exactly in half and stitch it on the wrong side. Again, ensure the seam allowances are on the outside. Set a small stitch length on the machine, about 1.5 to 2 millimeters, approximately 0.06 to 0.08 ", and make a tack forward and back at roughly a 45 degree angle. When you unfold the cut to the right side, you'll see the decorated corner. Now the sewn ribbon can be ironed. This will straighten it out and give it a neater appearance. It's best to iron the cut on a stand used for ironing sleeves. Straighten the cut, trying to even out the length and fix it with pins. Then iron and cool it down with a wooden block. After ironing, the cut looks much neater. 42. Cutting and Sewing the Skirt Lining: A. All the tool layers of the skirt are now sewn, so it's time to cut and sew the skirt lining. For the lining, I'm using thin chiffon. Since I'm making a light youthful version of this dress, the lining will be short. The lining skirt will be 35 centimeters, about 13.8 " long and cut in the shape of a half sun. We've previously calculated and know all the parameters for cutting, the radius corresponding to the waist circumference of 66 centimeters, a boot 26 ". R 21 centimeters, at 8.3 ". The large radius, accounting for the length of the skirt is 21 plus 35 almost 56 centimeters, 60 centimeters, about 22 " plus 13.8 ", almost 22.8 ", 24 ". This gives us the piece of fabric with a small reserve that we'll need. Lay the well ironed fabric out on the table. Always remove the selvage edge of the fabric. It should not be part of the cutting. After that, measure 21 centimeters, about 8.3 " from the corner of the fabric for the required radius, and from that point measure 35 centimeters, about 13.8 " for the skirt length. The total is 56 centimeters, about 22 ". In the 35 centimeter, about 13.8 inch skirt length, I've already included the allowance for finishing the hem. The hem will be finished with a narrow rolled stitch on the overlock, so the skirt length will remain practically the same. Fold the fabric at the 56 centimeter, about 22 inch mark. Be sure to check along the entire length that the distance from the fold to the edge of the fabric is exactly 56 centimeters, about 22 ". When cutting, you can either fold the fabric into a cone or simply draw arcs using a tape measure. Given the short length of this skirt, I will use a more accurate method by measuring the required radius and skirt length with a tape measure and drawing the arcs. So the radius is 21 centimeters, about 8.3 ", but we need to add 1.5 centimeters, about 0.6 " for the seam allowance. Then from the 20 1 centimeter, about 8.3 inch mark, I measure 35 centimeters, about 13.8 ". In total, from the corner, I measure 56 centimeters, about 22 " to draw the large arc, which will be the hem of the skirt. I use a thermal pen for this. Its ink will disappear at the first touch of the iron. Next, I will draw an arc with a radius of 19.5 centimeters, about 7.7 ". As the arc with a radius of 21 centimeters, about 8.3 ", is the point where the skirt will be sewn. This skirt should be cut along the arc with a radius of 19.5 centimeters, about 7.7 ". I cut the fabric along the drawn arcs. The cutting of the skirt is finished. Some of the work I'll do behind the scenes as these are simple operations that you can handle. I'll overlock the two raw edges sew the back seam and leave a section for a 20 centimeter, about 7.9 inch zipper cut. I will then machine sew the back seam from the hem to the end mark of the zipper cut. Next, I will press open the seam allowances on both sides and hem the skirt. I will also sew a stay stitch, 1.5 centimeters, about 0.6 " from the top edge. Since the top raw edge is cut on the bias at a 45 degree angle and will definitely stretch, I made preliminary markings to more accurately place the stay stitch. The lining skirt is ready. Note that this is the only layer cut in a half sun shape with the seam positioned at the back. I'll be using a blind zipper for the closure, but I'll sew it in the classic way, like a regular non blind concealed zipper. The zipper is now sewn in. The finished lining skirt is placed on the cone on top of the ten layers of tool skirts, with the right side facing inward and seam allowances facing outward. I intentionally didn't level the bottom of this short skirt because the half sun will start to stretch while hanging, causing the front and back to lengthen slightly. Meanwhile, the sides of the skirt will shorten due to this deformation. I'm quite satisfied with this configuration for the bottom of the skirt lining. Specifically, I want the skirt to be slightly longer at the front and back and slightly shorter at the sides. This way, the lining will take the desired shape under its own weight due to natural deformation. 43. Preparing the Bustier for Joining with the Skirt: Now that all the decorative strips are attached to the Butier, partially glued and hand stitched, we can move on to preparing it for joining with all the layers of the skirt. As a reminder, the underskirt consists of ten layers of tool and lining and the full circle skirt consists of two layers of sun cut tool. Before joining the Butier to the skirts, you should mark a clear sewing line. To do this, it's enough to place marks on all the curves. Let's start from the center of the back. Both halves of the back should be the same height. So mark the bottom where the backs join. These marks should be 1.2 centimeters, about 0.5 " from the edge, as I suggested. While working on the Bustier, we sewed the curves, joined the parts, and added decorations, so it's possible that the lengths of the curves may have distorted. Therefore, it's necessary to ensure that the lengths of the curves on the right and left sides of the Bustier are equal and then mark them. Assuming the seam allowance is 1.2 centimeters, about 0.5 ", I mark it on the curve of the left back half and measure the distance from the top edge of the relief to the mark. This distance is 15.7 centimeters, about 6.2 ". The symmetrical curve on the right back half, I mark the length of 15.7 centimeters, about 6.2 " from the top edge of the curve. In this case, the seam allowance is 1.4 centimeters, about 4.55 ", which is 2 millimeters, about 0.08 " longer on this pattern. This discrepancy might have occurred when I was inserting the PIP into the backstitch, which could have stretched the pattern slightly, or the curves could have distorted during the decoration process. Similarly, on the next curve of the left half of the Butier, I set aside 1.2 centimeters, about 0.5 " from the bottom and measure its length from the top to this mark. Then I move to the symmetrical curve on the right half of the Butier and place a mark at the same distance from the top as on the curve on the left side. I repeat this process for all symmetrical curves. Once all the curves are marked, you can draw a perpendicular line to the lacing as an additional guideline. I'm not concerned about drawing with a thermal pen because it will be easy to remove these marks later. Simply applying a steam iron will cause the marks to disappear. By doing this simple work, I can be absolutely confident that when joining the skirt, the height of the corset will be the same on both the right and left sides. 44. Joining the Bustier to the Bottom Layers of the Skirt: Without removing the bottom of the skirt from the cone, I attach the Botier to the skirt. As a reminder, the bottom of the skirt is made up of ten layers of tool and a lining. The front side of the skirt is facing inward and the wrong side with seam allowances is facing outwards. I lay the Bustier face up, meaning the underside of the Bustier is against the underside of the skirt. Mark on the zipper lining the place where it should join with the Bustier so that when the zipper is closed, the edges are at the same level. Next, I align the mark on the front side of the Bustier zipper with the mark on the lining zipper and secure this point with pins. If possible, it's better not to remove the cone from its stand. Alternatively, you can place the cone on the table as I do for demonstrations, but this is less convenient because you cannot move around the cone as easily. After aligning the first marks, I wrap the cone with the Bustier and align the mark on the second side of the clasp with the mark on the second side of the lining zipper. I secure it with pins. I deliberately drew a perpendicular line on the lacing placet of the Bustier. This is the line of the future sewing seam. Try to pin the Bustier to the skirt layers so that the sewing seam is perpendicular to the lacing place. I begin pinning the Bustier to the skirt, moving in a circle, alternating between the right and left sides of the Bustier. The most important thing when connecting the Bustier to the skirt layers is that the boustier is perfectly even. There should be no gathering or fullness. Distribute the skirt under the corset so that any discrepancies in length are adjusted through the skirt. Remember, when cutting the skirts, we included a seam allowance of 1.5 centimeters, about 0.6 " at the waist. By raising or lowering the corset relative to the joining stitches, you can adjust the waist length of the skirt. Raising the boustier above the joining stitches shortens the waist length. While lowering the boustia below the joining stitches increases it. This allows you to find the optimal position for attaching the Bustier. Do not change the waist length of the Bustier under any circumstances. Continue pinning the skirt and Bustier layers together, moving around the circle and referring to the marks on the Bustier curves that were set with a thermal pen. I recommend performing this operation while the cone is on its stand because the skirt layers should be well spread out. The layers of tool should not interfere during this operation and you want to avoid catching any extra tool while pinning the Botier. Once the skirt is fully pinned to the Butier, be sure to hand stitch the joining seam using a regular basting stitch. 45. Joining the Bustier to the Top Layers of the Skirt: Once again, without removing the skirt layers and Bustier from the cone, I place the last part of the skirt on it, which consists of two sun cut layers. I position it with the wrong side up, facing inwards so that the front sides of the skirt and Bustier are aligned. Next, according to the marks we made on the curves of the corset, I begin pinning the top skirt, starting from the back seam and evenly distribute it along the entire waist circumference. I make sure that the stitching for joining these two layers aligns with the marks on the Butier curves. This way, I find the precise seam position for joining all the skirt layers, ensuring that the front layer is sewn in accordance with the corset markings. With all the layers of the skirt pinned in place, I lay a basting stitch by hand behind the scenes. Working with a skirt on a cone is incredibly convenient compared to doing it on a flat table. I constantly and carefully ensure that the bottom layers of the skirt are well spread out and fall freely. The same goes for the top layers. When this is done properly, the joining process becomes easy, quick, and precise. 46. Connecting the Skirt with the Bustier: Finally, I remove our entire construction from the dress form cone and move it to the sewing machine. I align the lacing of the corset parallel to the skirt cut and the zipper of the lining, so I can sew along the perpendicular line drawn on the lacing place. I feel the vertical bones in the seams and try to determine which presser foot to use and how to adjust it so that the bones and beads do not interfere with the sewing process. I position the garment with the top layer of the skirt facing up, so the seam will be sewn along the front part of the skirt. I adjust the machine foot to the rightmost position, creating a one sided right foot. Throughout the process, I carefully monitor the inner layers of the skirt to ensure they don't get caught under the presser foot. Nothing should get accidentally stitched. Taking my time, I set the machine stitch length to 3.5 millimeters or even 4 millimeters and begin sewing. Wherever possible, I try to sew below the layer joining stitches so that any excess stitching falls within the seam allowance. I constantly use my fingers to feel the position of the bones in the Butier seams to avoid stitching through them. After finishing the seam, I critically examine the underside. It's crucial that all layers are sewn evenly and no excess fabric has been caught under the seam. Also, check the quality of the stitching itself. Amid the many stitches, try to identify the one you just laid to ensure there are no skipped stitches. Skips often occur at various thickened points, so inspect the seam carefully. Remember, this is the stitch that connects all the layers of the skirt together. I then switch to a regular presser foot as the single sided foot is no longer needed. From now on, I will continue sewing with the classic regular foot. Next, I sew another seam within the seam allowance, using the width of the presser foot as a guide, stitching parallel to the first seam. Turn the piece over to check if the bottom tool layer was caught in the stitching. Unfortunately, I did catch the tool layer, so I had to undo a small section of this seam and restitch it to correct the mistake. Fortunately, I only needed to undo one stitch to fix the error. This second parallel stitch compresses the thick Sam alloans which will serve as the reference point when trimming the sam alloants. Trim the Sam alloans to a boot one to 2 millimeters above the stitching all the way around, leaving a remaining seam allowance of approximately seven to 8 millimeters. After trimming the seam allowance, I pressed it flat and removed all the marks made with the thermal pen. Now it's time to finish the seam allowance with bias tape. I'll use the same ribbon that I used for all the curves and the top of the Butier. I like this ribbon because it's dense, stiff and folds perfectly in half. Leaving a small technical tip for hemming, I sew the ribbon on trying to stay close to the edge of the skirt seam. I sew the first seam along the wrong side of the skirts interior. Again, check the quality of the seam to ensure that the front tool layer isn't caught anywhere. Then I turn the skirt so that the front side faces me and tucking the tape underneath, I stitch again. The seam is along a path with minimal thickness, so the stitching isn't difficult at all. But you must constantly straighten the bottom layer to keep it from getting caught under the stitching. As you can see, the ribbon covers all the numerous stitches that joined the skirt layers together, including the stay stitching and additional stitches that were used to join the layers one by one. All of them are hidden under this tape, so there's no need to remove them. The only thing to check is if any threads peek out from under the sewn ribbon when the front layer is removed. In that case, it's worth trimming them. Finally, fold the technical ends of the ribbon under the skirts underside and neatly hem them by hand. Congratulations. The dress is ready. 47. Conclusion : Congratulations on finishing the class. It's been an absolute joy and honor to guide you on your creative journey, whether you're just starting out or have been sewing for years. I'm so excited to see what you've created. Don't forget to upload your photos below. I can't wait to admire your beautiful work. Remember, the skills you've learned here can be used to create endless designs, play with colors, explore different fabrics, and embrace the art of experimentation. The sky's the limit. If you enjoyed this class and found it helpful, please leave a review. It would mean the world to me and helps others discover this class, too. Got questions. Feel free to drop them in the class discussion board or send me an email anytime at info@dressmaking.academy. I'm here to help. Thank you for joining this class. Now, go out there and bring more beauty into the world. Happy sewing.