I’m really excited to talk to you about our Creation Stories project. This idea was born from a wedding gift for dear friends who asked me to make their bridal corset, and requested photos of the work in progress, to get a glimpse into the construction and process behind their garment. I decided that I would go one better, and make them an album, mixing creative writing and photography to show them how I work, and some of the stages that might surprise them.
As I saw things coming together I realised the potential for my other clients, many of whom are deeply interested in the “behind-the-scenes” world in the studio. And I can see why- corsetry is a world apart from dressmaking and other sewing projects. It blends engineering, tailoring, architecture and uses a mystifying array of archaic tools! And each project demands something different. It might be our terrifying looking metal punch or our oddly shaped and bent applique scissors for fine lace work. So I thought why not offer our clients the chance to have their own Creation Stories?
A linen covered album, sealed with a wax stamp, with delicate tissue paper separating handwritten notes by the maker, and photos of all the different stages that brought your treasured garment from cloth on a roll to an intricately stitched second skin, threaded through with steel and made with great care. You might be surprised at the techniques and tools that helped us make your bespoke corset!
So from now on, if you’d like a Creation Stories memory book to document the making of your bespoke corset you only have to ask! Each one will be as unique as your commission, featuring the tools and processes used in the creation of your corset. Prices on request. If your loved one has commissioned a special corset for their wedding day or a special event then what could be a more thoughtful surprise gift to present them with!
Each year, the last order dates for Christmas sneak up on me! We’re skipping merrily through October and then suddenly I’m all booked up till Christmas and I don’t know where the time has gone. I had plans for a gift guide this year but by the time it was appropriate to post it (I hate bringing these things up too early!) We had so few spaces left for realistic on-time delivery that it seemed rather pointless. To be clear. at this point you are welcome to order but we can no longer guarantee that your order will be be completed in time for last post dates. Smaller items like chokers or harnesses are ok but corsets and lingerie will be sent in January! We still have gift vouchers though, if you missed the boat!
However there is still a reason to get your orders in now if you can, as in January we will be raising our prices by around 10% across bespoke and made to order pieces. I have mentioned this in passing on Social Media but for those of you who have found us more recently I have put this off for over 3 years now, despite our costs going up. I’m reluctant to raise prices as I know how much of an investment corsetry is for our clients, many of whom are not wealthy but are passionate about supporting our work. Please know that we truly appreciate the choices you make! But I trust that the craftsmanship and care we take with our client’s requests will continue to speak to the true value of what we do. Please feel welcome to place orders through the online shop or contact us for your bespoke requests if you want to secure your 2018 prices. Remember that bespoke quotes given now will only be valid until the end of December, and you will need to pay your deposit before then to secure the quote.
I’m looking forward to 2019 and working with clients old and new! I intend to spend the Christmas break (21st December to the 7th January) thinking about the creative direction of the business. I love what we do but I feel that I’ve lost some focus on designing in what I can only describe as an “authentic” way. The pieces I’ve made that get the greatest response from you are the ones where I was really digging into my personal aesthetic and influences but somewhere along the road last year I feel that I fell into a bit of a ditch of trying to predict the market instead of being true to my own instincts. I’ve never been a commercially minded person (despite the need to make a living!) and to me this really is an art form, it’s my main creative outlet and it still brings me so much joy. So I want to have the bravery to return to that scary, vulnerable place where you face the public with a piece of your soul, asking those people to join you on a journey where you haven’t quite picked an end destination but you have planned a scenic route. And you packed cookies.
As always, thankyou to everyone who has been with us so far, you are great travel companions! May your holiday be happy and filled with loved ones, whatever you choose to celebrate.
“I write this sitting in the kitchen sink” The opening line of my favourite book, “I Capture The Castle”. If you haven’t read it, you must. It’s like drinking a mug of hot chocolate while catching up with your best friend. It is comfort and sensory overwhelm and nostalgia for something half lived in another time. It also captures the essence of my childhood summers, a drowsy heady heat with a soundtrack of somnolent bees, exultant birdsong and the scent of bluebells resonating right to the back of your head. So when my favourite photographer Sally Sparrow asked me to provide wardrobe for a Summer photography workshop, I decided to a) start from scratch and create something new and b) base it around the moments of this wonderful book that typify an British summer in the countryside. Timeless, romantic, full of fleeting beauty and moments that no camera can preserve.
I Capture The Castle has a magical scene where, following a dinner party, the guests decide to swim the moat around the castle ruins. They float through the silver moonlit water, while Handel’s “Water Music” drifts out of the windows above. I wanted to create a piece that held that sense of etheral freedom, of drifting, the light transforming the colours into misty otherwordly visions. It was also a chance to play with something I’ve wanted to create for some time- wings that seem to fold around the corset like a resting bird.
As Cassandra prepares to see in the Solstice with her own “pagan” rites, she gathers wild flowers from the woods, including bluebells. My childhood home is at the base of a beautiful bluebell hill which becomes a haven of ambrosial scent for a few weeks a year. You don’t really notice the perfume of a bluebell until you walk amongst them in their masses, and suddenly, every breath becomes a delicate, sensuous worship of the season. The corset I created to capture this uses precious Sophie Hallette lace in a staggered pattern to play with a different way of creating an organic flow within the design. I wanted something at once vivid and hazy, already half a memory.
“It seems to me now that the whole day was like an avenue leading to a home I had loved once but forgotten, the memory of which was coming back so dimly, so gradually, as I wandered along, that only when my home at last lay before me did I cry: “Now I know why I have been so happy!” Naturally there had to be a corset dedicated to the main character! I used botanic print silks and layers of lace in blush, golds and neutral tones to capture something nostalgic, of another time, a corset for a nature loving English rose!
Everyone is allowed at least two favourite characters in a novel, and Topaz is my second. An artist’s muse who stalks the hills naked to commune with nature. She is so affected in her manners, but at her heart is generous, fiercely loving and loyal. A corset that represented her had to be bold, striking, full of heart, I chose colours of golden yellow and smoky topaz, made with botanical print silk ribbons and green gold lace. Bohemian, decadent and full of flourish.
I look forward to creating more photos with the corsets! Unfortunately I smashed my camera at the photoshoot so it may be a while till I can take any but these pieces will be available to hire! Or indeed, you could commission your own midsummer daydream! What would you choose to encapsulate the season?
I close on the final words of I Capture The Castle-“There is only one page left to write on. I will fill it with words of only one syllable. I love. I have loved. I will love.”
Credits- All gowns and skirts by Katherine Davidson, models and photographers are all credited on each image
Eirlys is now live in our online store! You can claim yours here.
Silk Mesh- What Are The Benefits?
Our bespoke clients will already know the benefits of silk mesh corsetry. It is supremely breathable and helps you regulate your temperature in hot weather. It’s slight “give” means that it flexes with you as you breathe and, for those of us used to solid fabric that holds us so tightly, it can feel like you’re barely wearing a corset at all! But our construction means that this corset will hold you curves, cinch your waist and provide a flattering, enhanced figure you will want to show off. It also makes the perfect stealthing corset!
So after a lot of interest on social media, it seemed like it was time to make silk mesh available for our standard size clients to try out! The Eirlys is available in black or ivory silk with your choice of zip or busk fastening, though we can also provide a light golden beige mesh in cotton rather than silk, which we will be adding to the site when time allows to make a sample! If you’d prefer this option just contact us.
Is The Eirlys Right For Me?
I have noticed a lot of brides to be choosing our standard size corsets for their bridal shapewear, and truly, this is the ultimate under-dress corset. When made with a zip front fastening (or no front fastening at all) it will sit discreetly under clothing and give you the curves you want without discomfort for those unused to corsetry, and without adding bulk beneath your gown. This is also great for tightlacers who prefer to “stealth” or wear their corsets beneath their clothing without detection!
Something that has introduced a lot of our regular waist training clients to silk mesh is it’s suitability for night time waist training! For those who sleep in their corsets, different considerations play a part- for instance, wanting something that will let their skin breathe, that won’t make them overheat and disrupt sleep, and if you’re a wriggler, something that allows good movement! For this, a natural mesh waspie is ideal. It ticks every box!
The only people who won’t be especially taken with the Eirlys are those who want a really firm hug from their corsets, or those looking to train a wasp waisted rib shape. The slight movement in the silk means it doesn’t really compress like a coutil corset would, and this means it moulds more to your rib and hip shape than a coutil corset which is more capable of moulding you!
We hope you’ll love this new style- although it’s perfect for Summer use, it really is an all year round treasure, and a wardrobe staple with a simple elegance that you will love to wear.
Do you have any questions? We’d love to hear from you, just email us at firstname.lastname@example.org
Running a thriving independent brand rarely leaves you with a lot of time to experiment, but I’m forever uncovering things I want to try my hand at! So last Summer I finally knuckled down to something I’ve wanted to work on for a long time- an extensively paneled corset.
For those who aren’t familiar with how a corset creates shaping, it is not, as many people imagine, the boning used but in fact, it starts with the way the pattern is drawn. This comes from how the body dimensions are distributed through a pattern, and the point at which the corsetiere chooses to grade a line in or out. It makes a huge difference, and accounts for why cheaper off-the-rack corsets disappoint their wearers! Time spent with the pattern is never wasted, and the more panels you use (up to a point!) the more subtlety and flow you can create with the shaping.
If you’re unsure what I mean by “panels” (I often find the term confuses customers) I mean the individual segments that make up a corset- the vertical seams mark the edges of each panel. Splitting the fabric of a corset up like this is what allows us to shape the dramatic curves at the waist. More panels means that at the waist, where the tension in a corset is at it’s greatest, the fabric is split into smaller sections, reducing the stress on each individual panel and seam. A larger panel is more likely to show strain or even stretch if not given additional support.
If you’re still with me, then you can probably see why the idea of playing with additional panels held practical appeal. There is also something very appealing to me about a corset that displays such architectural elegance. The lines of a corset like this would be very beautiful to my eye. And it would give me a chance to play with altering a patterns design and observing the effect it had, using the same measurements distributed in a different way.
I wanted to work on fitting to my own body so I started by taking some photos of myself without a corset to show the effects the first toile had. I am 5ft 10, and usually around a size 10. I would describe myself as moderately curvy- I have a full bust and as my high school textiles teacher once told me, “child bearing hips”. Thanks Mrs Hopkins.
The first toile (a test version of the corset) was made to our classic 12 panel style. This is an extremely versatile and comfortable design and has been well tested over the years! The initial results seemed pretty good- I had opted for a 4″ reduction on my 27″ waist with a gentle hourglass cut. Immediately I could see that I would want more reduction as it was not curvy enough for my tastes and I was comfortable enough to reduce by another 2″.
One thing we look for on toiles are wrinkles- they either indicate too much slack or too much strain, and tell you where adjustment is needed. You can see from the initial figure pictures that I am slightly sway backed, and those wrinkles indicate where the curve of my back has left a hollow in the corset. You can also see below that there was slack in the lower hip that needed taking in.
The other two pictures show me experimenting with the plunge height and style I was planning. I knew I wanted a dramatic, swooping Edwardian line but I wanted it to flow with the lines of my body for a flattering effect. I always prefer to draw these things directly onto a toile while it’s being worn!
This left me at a stage where I could make my alterations to the original pattern and plan where I wanted to create my new panels. Again, I chose to draw these directly on to the toile. This let me try the corset on and see where the panels would sit on my body and allowed me to simply cut up the toile along these new lines to make my new pattern. I chose to make a 20 panel corset because this seemed a good distribution for my reduced waist size and gave me a nice even 5 panels for each quadrant of the corset.
The second toile shows very well how redistributing your panels (as well as changing your front panel height and waist reduction) can really play havoc with your fit! I suddenly had a lot more wrinkles, including stress lines around the high hip and a different set of back wrinkles. The plunge at the centre front meant that the panels joining onto it needed to be made smaller in that area to avoid it pulling back on itself as you see on the toile. I had made adjustments for this already but until you see the results on the body you can’t know if you’ve judged it correctly.
I’ll be completely honest. I should have done a third toile for this. But I had an event coming up that I needed to wear my corset for, and time was running out. So in a case of “Do as I say, not as I do” I made my tweaks with some resewing on the second toile, and moved straight onto my final corset! Luckily it worked out pretty well. Not perfectly, but I really like the finished garment. I chose a simple construction of mink coutil with contrast black waistband and symmetrical embellishment of black Chantilly lace. I wanted a feel of flourishing growth within the restraints of symmetry (I usually embellish organically) and the simple, classic tones of mink and black play well against each other.
I have had a great reaction to the look of this corset- and I don’t think it’s just the lace! I could really see the possibilities for taking a corset pattern in this direction, and it’s something I intend to play with more in the future. Though preferably on another human being, because the added complication of needing eyes in the back of my head did not make this task any quicker or easier! If you find yourself dreaming of architectural corsetry then do come and talk through your ideas with me!