An open, evenly-woven cotton or linen fabric traditionally used for cross-stitch. We offer it as an alternative to nylon mesh for summer styles. It's stronger and sturdier than nylon mesh, so it's a better ventilated option for plus sizes. Natural fiber fabrics are more absorbent, so Aida cloth corsets must always be worn over an underlayer.
See: panel, flat steel bone. Back lacing panels are two panels in the back with two flat steel bones in each. The grommets are set in between those bones, which prevents warping, gives you even lacing, and, most importantly, gives you back support.
Soft tissue may hang over the edge of the corset if it doesn't have enough room in the back. It's extremely common and can happen to people of any size because muscles are also soft. Testing the pattern with a mockup prevents it.
Our preferred way to finish the edges of your corset. Usually made out of the main fabric of the corset, can be made out of contrasting fabric.
See: boning channel. Boning is strips of rigid material inserted into boning channels to support the body and prevent the corset from folding under tension. Historically, this would be whalebone for upper classes and wood or even rope for lower classes. Nowadays, there's steel and a variety of plastic materials like rigilene and synthetic whalebone. We normally use steel unless the design calls for something else.
Boning channels are narrow tubes of fabric holding the bones in place. Can be made out of contrasting fabric and sewn on top of the corset.
How boning channels are laid out across the corset. Standard boning placement follows the panel as-drafted. Artistic placement means we manipulate the panel shape to create an optical illusion and enhance the curves visually.
Two loops of lacing ribbon at the waist. They allow you to tighten your corset in the back without assistance.
In modern corsetry, front busk means front closure made out of two strong flat steel strips, one with studs and the other one with loops that hook over those studs. It's the most durable front closure option that also provides the most support. Historically, busk or busque was the word for the central bone in a corset, which is why you may see things like "wooden busk" or "ivory busk" in museums.
We add padding and lining to our corsets to make them comfortable and support the breasts. On mesh corsets, we make an opaque section on the bust. You can choose the shape of that opaque section, the choice is purely aesthetic.
Also known as classic lacing. The traditional crisscross pattern lacing: over-over-under-under. It's the strongest, most versatile and easiest to control. If you think it's too finicky, we can demo it for you at the fitting.
See: butterfly lacing.
See: panel. Usually, closures are installed into panel 1, the centerfront panel of the corset. With mesh corsets, the client may want to show more skin, in which case the closure panel will be narrower, only as wide as necessary.
There are many unconventional ways to fasten a corset in the front: ladder lacing, swing hooks, hook and eye and so on. We offer the classic three: front busk, zipper and front lacing. A corset can also be made with a solid front.
Parts of the corset can be made out of a different color fabric to accentuate the construction. Popular choices include bias tape, boning channels, waist tape and lacing panels.
On accent lines, the thread is swapped for thicker and smoother top-stitching thread in contrasting color. A great way to add color without drawing too much attention.
Cording used to be the primary method of stiffening the corset for those who couldn't afford whalebone. Now it's used as a decoration to add texture to the corset.
THE corsetry fabric. Dense and durable cotton fabric woven in herringbone pattern or with brocade patterns on it. Choose it if you're after extreme reductions or large bust support.
See also: fan lacing slider. We often use D-rings in place of fan lacing sliders. One of the benefits is that they come in more colors (e.g. gold and black).
Waist tape is a strong grosgrain ribbon sewn on the inside of the corset. If the client has sensitive skin but wants to wear a mesh corset, we sew waist tape on the outside of the corset.
Also: grommet. Sources disagree about the difference between grommets and eyelets, and those words are often used interchangeably. They both mean the metal ring inserted into a hole in the fabric to reinforce it. A popular distinction is that grommets have two pieces and an eyelet has one. We use two-piece grommets, as they feel nicer on the skin.
The lacing style that you probably know us for. All cords or ribbons on each side go to a belt which can be tightened and fastened in the front. The tradeoff is lower waist reduction, less control and the risk of snagging on delicate fabrics.
Two specially made pieces with fan lacing sliders or D-rings on one side and belt buckle parts on the other side. Fan lacing is threaded through the sliders or grommets, so the corset can be tightened just by pulling on the belt and fastening it.
A specially made buckle with three or five holes designed specifically to separate fan lacing cords or ribbons and keep them in order.
Some fabrics can't be used as a tension-bearing layer on their own but can be draped over the strength layer as a design choice. Velvet or draped organza are great choices for that.
Rigid, flat-profile steel boning that's harder to bend or warp. Used in the front for tummy support and in the back at the lacing area for back support. In the front, it also protects busk or zipper from deforming.
Flossing is a historic hand embroidery technique. It looks great and adds a personal touch to your corset, but, most importantly, it adds longevity. Thread reinforces the parts under tension and reduces wear and tear.
Also: eyelet. Sources disagree about the difference between grommets and eyelets, and those words are often used interchangeably. They both mean the metal ring inserted into a hole in the fabric to reinforce it. A popular distinction is that grommets have two pieces and an eyelet has one. We use two-piece grommets, as they feel nicer on the skin.
All visible parts of the corset made of metal: grommets, zipper teeth, busk loops, belt buckles, studs, spikes etc.
A separate lace motif or a strip of lace stitched onto the corset as a standalone decorative accent.
The whole corset gets covered in lace, as opposed to lace applique.
Usually seen on historic corsets. A narrow strip of lace, usually cotton, usually thicker than modern lace, sometimes hand-crocheted, sometimes with a ribbon threaded through it, sewn at the top or at the bottom of the corset.
Grommet rows in the back or in the front, with a cord or a ribbon threaded through the grommets. This area normally has flat steel boning to prevent warping.
We use strong non-stretchy nylon cords if the client requests cord lacing. There's no functional difference between cords and ribbons.
We use durable double-faced polyester satin ribbons that last a while and can withstand a lot of tension.
When we say "Leather", we mean real leather. "Faux croc" means sheepskin embossed to look like crocodile, not plastic imitation.
Leather patches placed at the ends of boning channels to reinforce the point of greatest stress.
The inner fabric layer of the corset, worn against the skin. We always use 100% cotton for lining.
See: hardware.
A historic category where the corset offers some bust support but doesn't go over the entire breast.
Trial garment made out of inexpensive materials. We ship it to you to test the pattern and adjust it on the body. We really recommend to allocate the time and the budget for this step, the results are worth it.
The 13th/17th/21st panel of the corset that goes under the lacing to protect the skin and cover the Venus fold.
See: Back overspill.
Corset that covers the bust and provides breast support.
Foam layer sewn into the corset. Our standard practice is sewing in some padding at the bust; the client may also request hip padding.
Panels are fabric pieces that, together, give the corset its shape. Think of them as facets in a 3D model of your body. A straight size corset usually has 13 panels, for plus sizes, it can go up to 21.
There are different approaches to definitions of straight size, midsize and plus size. For us, breast circumference over 105 cm means plus size, less than that straight size.
Fan lacing belts have grommets and a buckle. If the corset is made out of delicate materials like mesh or lace, even a minor pull from the buckle can damage it. To prevent that, we sew an additional layer of fabric around the waist area.
A variation of classic lacing commonly used for photoshoots. Over-under pattern produces a column of Vs, rather than Xs.
Flexible, spring-like boning made of coiled steel wire, used where the bones need to follow the curves (e.g. on the sides or over breasts).
Spring steel means steel that flexes under pressure and springs back to its original shape.
Flat and spiral bones we usually use in our corsets.
There are different approaches to definitions of straight size, midsize and plus size. For us, breast circumference below 105 cm means straight size, above that plus size.
The main tension-bearing layer of the corset, as opposed to lining and fashion layer.
See: contrasting stitching.
A corset that ends below the bust, providing no bust support. Usually commissioned specifically for waist reduction or as a fashion statement.
When you tighten your corset, skin and soft tissue can gather into folds under lacing. It's not painful or uncomfortable, and many people even find it attractive. An underlayer or modesty panel covers it if you don't like the look.
How much the waist we pattern in the corset differs from your natural waist. E.g. natural waist 77 cm, waist reduction 5 cm, corset waist 72 cm.
Strong cotton grosgrain ribbon sewn edge to edge at the point of highest tension. On opaque corsets, it's sewn between the strength layer and the lining. On mesh corsets, it's usually sewn on the inside. For clients with sensitive skin, we can move that to the outside of the corset (see external waist tape).
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