Hey all! FINALLY got those progress photos uploaded, so I'll be doing a couple of WIP posts. This one will focus on the work on the bodice and the sleeves.
STEP ONE: Find a good screenshot of the bodice! This one is from the very beginning sequence, where Rapunzel is doing her morning chores with Pascal and realises there's somewhere else she can paint on her walls, and for me was particularly useful because it showed the seams under her arms as well as all the front bodice detail.
From this we can see that her basic corset shape is a longline, sleeved, sweetheart necklined front-lacing corset. She has on each side three "front" panels, two of which are half-height because they're cut off by the underbust seam. Above that there is a v-shaped bust "dart", which appears not to be a dart at all because the fabric is so perfectly matched. My mum thought I was crazy to be going to this level of detail, but I really prefer my garments to be constructed accurately. From a similar screenshot of her back, you can see that there are four back panels, and the over-shoulder straps are relatively thin, and the lace neckline doesn't follow them but instead the false neckline of a sheer insert at the back (the part that shows the buttons on it after certain events later in the movie).
STEP TWO: a very important part of step two is BUYING YOUR PATTERN. Look for one that has the same basic features as what you want to achieve. For me, I felt that attaching strap sleeves to an ordinary corset pattern wouldn't quite achieve the shape I wanted, and even then finding anything with a sweetheart neckline was near on impossible. I settled on the following:
Simplicity Misses Costume 3677. I will admit that the real reason I picked this pattern (at least initially!) was the fact that the bottom left image showed a corset in a striped fabric that looked very much like there was an underbust dart! Nevertheless, it proved very useful, although requiring much alteration. In the following image, look to my right- you can see that I've stuck sticky notes over my pattern to make the following alterations:
1: added 1.5cm height to the bust, following the existing curve. This was natural for me as I am fairly well endowed as a DD cup, but could be useful for anyone else trying to make this as a corset without a shirt underneath, as in the original pattern; it's too low to wear without a shirt under it, I believe.
2: Added approximately 10cm to the lower edge. As the original corset was a waisted design, finishing on the natural waist (i.e. bellybutton height), I needed to add quite a bit to make it into a longline corset. HOWEVER, don't make the same mistake I did! I forgot to adjust for my extra hip measurement, and ended up having to add a triangle of fabric in at the hip on my canvas layers (underneath, so they don't show to anyone but the wearer, but still messy!) and then cutting my outer shell of pink cotton all over again just to add in maybe 10cm2 of fabric to the hip so it would actually fit!
Sticky notes are a great way to alter a pattern if you want to keep the original curves - simply place them down over the line you want to use, trace the outer edge, and then move the sticky note up the required amount. This is possible for me because if I feel I am going to use a pattern several times, I iron interfacing onto the paper pattern to make it sturdier (I hate pattern paper and always manage to rip it!)
Note also that this means continuing the underbust dart lines out with the curve of your pattern. I didn't take enough photos of my alterations (sorry greylocke and greylocke's daughter!) so I'll drag out my pattern and take some more photos of this. For now, I hope this gives you the basic idea.
STEP THREE: Sew "interfacing" and "lining" layers (I used canvas for both, for strength - traditional corset fabrics include this or coutil) according to pattern instructions, insert boning (I used cable ties, as many renaissance and other costumers do, because it has many of the nice strength and flexibility of spring steel, without the bendiness of plastic boning, and can still be hand or even gentle machine washed without rusting like steel!) and test fit! As you can see, I look pretty unhappy here because my corset doesn't fit, because I forgot to extend the hip line and it is too tight.
DO NOT SKIP TEST FITTING! Imagine how annoyed I'd be if I'd gotten much further and sewed my side seams WITHOUT realising it didn't fit!
STEP 4: alterations to the lining layers. Here you can see the alterations I made ON THE BODY to the fit of the sleeve, as compared to the original fit of the sleeve. What is most important is maintaining the inner line of the sleeve- that is, the side closest to the neck. That's why the alterations (to make the armhole skinnier, to accomodate a puff sleeve later) are done to the outside.
These sorts of alterations are made by trying on your corset lining layers (pinned, not sewn, at the side seams) and getting someone you trust to draw in a sensible sleeve line. Then take it off and unpin, check that both sides are even, and cut along the line (remembering to accomodate for seam allowance!) Once cut, this allows you to lay your corset flat on top of your "outer shell" layer and make the same alterations to the outer pink layer without marking it where it might be seen.
At the bottom of the previous photo, you can sort of see the 'triangle insert' I mentioned that alters the fit of the hip. Here is a better photo.
Ideally, you want to add this in BEFORE you sew everything. I didn't, and now I have an ugly seamline on the inside of my corset, where only I will know it's there... and it still bothers me. When tracing my pink outer layer I made sure this was included so there's no seam on the outside that looks like this. Learn from my mistakes and make sure you've altered for all your womanly lumps and bumps!
Once you have made all the necessary alterations, including (not shown) getting someone you trust to trace out the false neckline panel at the back, then cutting that out, lay your inner layers flat and use them as a guide to cutting out the same bits on your pink outer layer.
STEP 6: Piping! This is optional - I know Aelynn was able to find the perfect colour and size in her local Jo-Ann's. In Australia, we have Spotlight, and it's pretty dismal on its selection of trims. So I had to make my own!
Get a matching colour of thick bias binding, and some suitably sized binding cord. Cut your bias binding up the middle, so you have two halves that have a single fold in them. Tuck your cord into the centre fold, and pin it there, preferably with pins that are easy to remove. Use a zipper foot or other foot that you can place off centre, and use the side of the foot to push the cord to the edge of the inside of the fold without rolling the fabric as you sew
et voila! PIPING!
STEP 7: This isn't in the pattern either, so remember to do it here. Pin your piping to the outer edges of your outer shell fabric (for me, because my cotton was quite thin, this involved a reinforcing layer of canvas and my pink outer fabric. If you use a thicker outer fabric as the pattern recommends, yours will be only one layer). It is pinned so that it's on the edge of the seam allowance, not the edge of the pattern - this is because when you sew the outer shell to your lining and the seams are flipped inside, so too will be the edge of the piping! Clever, huh?
Curves are hard, that's why I've shown them here. Remember as with any seam to clip the seam allowance at the curves to allow them to fit better. Remember also that Rapunzel's piping ends at the inner 'v' of her neckline, so you'll have to grade your piping out at that point rather than continue all the way down her front (as I did initially! :facepalm) as this will interfere with the front lacing.
This is part 1 of the bodice work. Part 2 will be posted separately because of the limit on a number of photos per post!