So over the past couple of weeks, you may have noticed that our regular herringbone cotton coutil fabric feels a bit different - a bit softer, a lot softer actually.

First of all PANIC NOT!  This is not a bad thing. The thread count and quality of the fabric is still the same. The sizing has changed - what is 'sizing'? I hear you ask...

Size is the glue product which is put onto the coutil fabric during the finishing process to make the material stiff and therefore suitable for corsetry.  In the past, to be honest, I think the fabric has been oversized which has resulted in a really cardboard like feel to the fabric.  However, this over-sizing did have benefits too  because it meant that you could dye the white herringbone with ease and the fabric would remain firm even after several washing cycles. 

Now, we have a softer product but no less strong and certainly still the best fabric to use for making a corset.

If you do wish to dye the coutil, you can still do so but will need to use starch in order to get a crisp result. 

The new softer herringbone corsetry coutil allows you much more flexibility especially when it comes to fusing other fabrics to it (ie: silk);  before you would end up with a really stiff and bulky cardboard like fabric which would permenantly crease if you weren't careful.  With the softer base, this will not happen.

For tips on fusing, click HERE

Customers often ask for 'fan lacing sliders' which are not that common these days and I am unable to find a factory in Europe that makes them now.  To source them in China would require me to find a warehouse here to store them in, such are min. qty amounts from factories in China!  I even spoke about 'opening a mould' with a fellow British indie lingerie brand but we decided that even between us, the expense was prohibitave. 

Ladies wot Lace source

So I thought we could talk about fan lacing - how it came about, how to do it, different types, and how the same (or better imo) effect can be acheived without those pesky metal slides.

Although the Victorians dabbled in several models of front fastening corsets, it wasn't until 1908 when fan lacing became popular and took off as a viable alternative to the traditional back lacing corset.  In that year,  Samuel Higby Camp of Jackson, Michigan, invented a new system of fan lacing using a special metal buckle which was mounted with loops and was patented in the US in June 1921.

Metal fan lacing slides - difficult to obtain in the 21st century	Camp System diagrams source

Camp's system with the metal buckle uses one single corset lace which is passed through the looped metal tab several times.  The angle of pull means that the pulley effect of the lacing is effective over a wide range and this means that tightening the corset from the front is extremely easy. The other side of the fan lacing slide attaches to a belt which fastens at the front or side of the corset using special sliding buckles which are low profile and therefore sit smoothly underneath clothing.  These are still used today in waistcoats.

Front fastening corsets The Camp fan lacing system on the left is bulkier but uses only one lace passed through the special metal slider.  The Jenyns fan lacing system on the right is flatter but uses several laces all stitched to the controlling belt. source

Camp patented his unique slider but that didn't stop other manufacturers copying the idea, the most successful of which was an Australian firm called Jenyns who in order to circumvent the patent, simply stitched the apex of the 'fan' onto a strap.  The main difference in this system is that sevaral individual laces are required to form an effective closure.  This makes for a prettier effect but it means the system is not quite so effective.  Nevertheless, this was also a popular and successful design and seasoned wearers of both models at the time, report the difference as completely negligible.  Jenyns licenced the UK factory Symingtons to make this type of corset for the European market, and here is one such example I handled and photographed myself in the Symingtons resource centre.

1911 Jenyns corset in white coutil.  Low waisted and deep over the hips featuring elastic gussets at the bottom front.  This was one of the first styles made under the Symington franchise. photo © Julia Bremble	Front straps.  The corset has a long graduated busk and spiral supports and four wide fancy adjustable suspenders. photo © Julia Bremble

Below is a diagram from a blog post by American Duchess which clearly demonstrates how the laces are attached to the 'strap' system of fan lacing.  This system was first seen in Victorian times, but made popular much later in the early 20th century.  The blog post describes how to convert a traditionaly laced corset into a fan laced corset using a corset made from a Red Threaded pattern.  Please go and read it!

I can feel a tutorial coming on myself as I'd like to explore this system more in practice and ofcourse the creative options are limitless - I mean, multicoloured lacing for one! 

Here's some modern interpretations of fan lacing.

 

Asphixia Couture	Dark Garden	Lovesick Apparel	Pure One	V-Couture

Hopefully that's got your creative juices flowing!  Here are a few more resources for you to have a further read.

Resources:

Buy belt sliders for making Jenyns style fan lacing straps

Buy cotton corset laces for fan lacing

Fan lacing tutorial by Serinde Corsets on Live Journal

More on the Symingtons 1911 Fan lacing corset by Curve Couture

Vintage Fan lacing girdle from the blog of Period Corsets

Spirella blog - Fan lacing corsets

American Duchess blog - how to convert a regular corset to a fan lacing corset 1830's

Spirella blog - Jenyns corsets

 

 

Every so often my friend Izabela of Prior Attire comes to visit.  We enjoy sewing together as we share similar interests that are completely non-conflicting! ie: we both love corsets, but she is interested in authentic period corsetry and I am interested in very modern corsetry.  The shape unites us!  So when she comes to visit, she brings stock items to make for her shop and I take the time to experiment.  

The Victoria corset made from pale nude broche with black spots

With the arrival of several new fabrics in the shop I decided to formulate a new kit using my Sew Curvy Victoria pattern (#sewcurvyvictoria) and the new spot broche in nude/black which I have been lusting after for literally years!

Izabela also fell in love with said fabric, and decided to make some stock Edwardian corsets for her shop, using my new Sew Curvy Edwardian pattern - this is a pattern that I made for classes a couple of years ago, but have yet to write the instructions.  I will be doing so soon so that we can add it to our catalogue of British made corset patterns.  Here's her finished Edwardian corset.

The Sew Curvy Edwardian pattern will be in the shop just as soon as I write the instructions!

This new spot broche coutil is a lovely stiff fabric, which is also very smooth and fine.  It's  therefore perfect for sturdy single layer corsetry, not least because in addition to it being very strong, it also hides a multitude of 'sins' - if you're a beginner, or worry about the odd squint stitch - this fabric is for you!

Izabela wearing the Sew Curvy Edwardian Corset	Izabela wearing the  Sew Curvy Victoria Corset

These are some of the lace trims we have in stock, which go beautifully with this lovely corsetry fabric.  

So elegant!

For the new corset kit, I decided to include the 'Little Crowns' guipure trim, which I offset with black flossing along the bottom edge.  The inside is boned out with tubular boning tape (don't say I don't make things easy for you), with a grosgrain ribbon as a waist stay. 

The bow is a little added extra which I think finishes the corset off perfectly!

For more insights on our day of corset making exploits, do pop over to the Sew Curvy Instagram account and look at the story highlight called "sewing day" - there you can see the story of our corset making day with useful hints and tips on corsetry including the best colour of thread to use for this coutil, why you need a taperd awl, which busk is Edwardian, the best use for a zip tie, how to insert a busk, and in progress shots of both corsets being made and worn!  

Go to @sewcurvysupplies on Instagram for up to them moment, as they happen, updates!

New kits coming soon - watch this space!

Lots of people ask me for 'wholesale', 'business' or 'trade' discounts.  So I thought i'd write a blog post about how you already get discount at Sew Curvy and why it's impossible for me to give any more.

Firstly, I am a tiny, one woman business in a very niche market.  So niche infact, that in the UK I have only one competitor.  Compare that to the leagues and leagues of quilting supply shops you see on the internet and in magazines, and size down my market share proportionally. 

Corset making is a specialist sewing activity for the brave and adventurous home sewer, the 'professional hobbyist' and the professional costumer, fashion designer, corsetiere or lingerie designer. 

When I started Sew Curvy it was because I wanted to help other corset makers to get quality supplies at a good price and I wanted to help beginners to learn corsetry easily - when I started it was almost impossible to find any information at all, the whole industry was top secret and jealosly guarded.  If I could give my goods away for free, I really would. People who know me can testify to my generosity.

However, I am in business, I am trying to make a living, because after 25 years of 'paid employment' where I was bullied, held back and harrassed, I ended up with chronic fatigue whereby I was more or less 'vegetablaised' for a year - anybody who has experienced CFS will understand how it is to feel unable to function properly, let alone hold down a job, let alone hold a thought for more than a few seconds, and although after a year I was ready to tiptoe into another job, it took me a good 5 or 6 years to completely recover, to feel like I had the energy levels that I had before, where I could stay awake for more than 8 hours and not feel exhausted by tea time every day. 

Running my own business was the only way out of that cycle.  I remember visiting a friend and mentor at a very low time and sobbing on her sofa "surely I can be of use to someone?" ... Well since I started Sew Curvy. that has happened.  This is definately my place in life.

But corsetry supplies aren't cheap.  The best steel comes from Europe and it has to be imported.  The best coutil also comes from Europe.  Cotton and steel are heavy and expensive, the coutil industry is small.  Everything we have in the UK must be imported from somewhere - haberdashery comes from Germany too - only a very few of our products at Sew Curvy are British made - I think ribbons and laces are about the sum of it!  Up until now, it's been easy to import goods from Europe - that might all change post Brexit, we don't know.  If tarrifs are imposed on cotton and steel from Europe, it will not be good news for Sew Curvy or for independant corsetieres in the UK.

All retail product markups are there for a reason.  Before I get anything at all from the business there are a significant number of overheads to pay in addition to the cost of the goods that I sell Here's a list:

• 20% VAT on everything I buy - (i'm on a complex rate - see end note as this effects EU businesses claiming VAT discounts)*
• 20% VAT on my turnover - not my earnings.  My turnover.  That's 20% of any order including postage that goes straight to the government on a quarterly basis.
• Two part time employees because it is impossible for me alone to do everything that is needed to run a successful business that is worth something.  While my assistants pack orders, keep stock records and do the routine admin, I am free to develop the business, do the marketing, teach corsetry and work with my own private clients as well as organise and sponsor international events like The Oxford Conference of Corsetry. 
• Studio rent - not inconsiderable - to hold enough stock, you need enough space.
• Heat, light, power in the studio, from early in the morning to early in the evening, often I am here till nearly 7pm.  The studio being a Victorian cottage is difficult to heat!
• Mail order sundries - envelopes, tape, packaging materials, labels, marketing materials, boxes, etc.,
• Services such as waste disposal (recycling), internet etc.,
• Technology - a computer, a phone, a decent camera for taking product pictures, a printer, software for editing images etc., 
• Postage - plus petrol to get to the post office, paper, pens, toilet paper, tea/coffee ... all the things that anybody would expect to find in their workplace to make it a happy and pleasant environment. 

When all those business expenses are accounted for, the rest counts as "profit" which you think might pay for the ridiculous number of hours I put in both here at the studio and at home - that's at least 55+ hours a week,  no paid holiday and no paid sick leave. But even these 'profits' have a cost.  There is 20% income tax, plus 12% NI contributions and that is before I've ploughed at least half of the 'profits' back into the business so that I can keep expanding and developing the product range. 

After all those things are paid,  I draw what could laughingly be called a  'wage' myself.  You can imagine, there isn't much left, and any more discounts, will come out of that.

So now imagine if your boss came to you at the end of your hard working week and said "can you work tomorrow for free/for a discount" when you already did several hours of unpaid overtime... what would you say? 

Sew Curvy supplies are very competitively priced and in most cases are the least expensive on the market - do a price comparison to see - I am continually monitoring prices and postage rates to make sure I offer the best service possible.  Some of our supplies are vastly UNDER priced due to other businesses charging less than they should for the same supplies and thereby undercutting their competition.  This applies particularly to fabric - one of my biggest overheads.

Positively though, there are ways to get discount at Sew Curvy AND support my business.  Here they are:

1) Spend over £100 and get free UK postage - this amounts to around 10% discount and it's usually sent by courier so you get fast, next day delivery into the bargain.

2) Buy 'whole rolls of corsetry supplies' - these are automatically already discounted by up to 10%.  If you buy enough of them, you'll also get the free postage if you're in the UK - that's a whopping 20% discount.

3) Buy a corset kit - these contain all the materials required to make a corset and are already collectively discounted by up to 15% - some pro corset makers will buy a kit per client and save this way.

4) Teach a class - if you buy your class supplies from Sew Curvy, your students will get a 5% off voucher each.

What about European discounts and the rest of the world?  Well there are two things.  Thanks to the value of our sterling - foreign exchange rates are good at the moment.  But again, because Sew Curvy is a micro business, we have bank rates to pay and when money comes in from abroad, there are also exchange rate fees.  I therefore can't discount even more on top of those as it would mean that you are literally getting free products.  I wish it wasn't the case.

To professionals out there wanting trade discounts.  Corsetry is an expensive business.  The cost of your supplies should be covered by the price of your product.  It's the same for me.  And as a corsetiere myself, I try to be fair by never undercutting my collegues and friends by using trade prices for that side of my business (infact, I have two companies because of this, Sew Curvy Retail is the supply shop, Sew Curvy Limited is the couture and teaching side - i'm an expert in inter-company invoicing! 

If people will not pay a reasonable price for your wares, then they simply are not your customers - I learned that from the Godmother of modern corsetry, Autumn Adamme herself, and it's been a very valuable piece of advice.  If you're not making money from corset making, then what is the point?  It's not your suppliers' responsiblity to subsidise your business. Only work for free for those who are dear to you.  Otherwise it simply isn't worth doing.

Autumn Adamme of Dark Garden in San Fransisco giving invaluable and inspirational business advice to corset makers at The Oxford Conference of Corsetry in 2015

I hope this little article goes some way to explaining why micro businesses like Sew Curvy, with only one or three passionate persons behind the wheel, cannot operate like corporate giants - we don't have the buying power of Amazon to get (often rapacious) discounts off the goods we sell, and we don't have the resources to offer any more discount than the value we already provide.  But we do love serving our lovely customers and we do feel enormous gratitude for your business.

 * endnote:  Because my turnover is less than £150k per year, I'm on a 'flat rate' VAT system which means that I pay the government less VAT per quarter, but i also cannot claim VAT on my purchases.  The surplus 'discount' that I don't pay, goes back into my profits, so that I pay income tax/NI on that portion ... it's like the government giving with one hand and taking away with the other -  it kind of works out marginally better - and certainly easier - but it means that I can't discount VAT for EU businesses because that isn't included in the scheme.

With the rise in popularity of home dressmaking and couture style DIY fashion as well as the popularity of programmes like The Great British Sewing Bee (#GBSB) and the sell out success of the recent incredible Dior Retrospectives in both Paris and London, there is a lot of renewed interest in shape, cinched waists and making Dior shaped dresses and clothes.  Hand in hand with this, there has also been much talk of proper metal corset boning and how 'difficult' it is to use.

What is corset boning used for?

Spiral steel boning is used in corsets and in couture garments for strong and enduring boning support.  It is made of steel which has been formed into a continuous spring which has then been flattened. 

Because spiral wire boning is a flattened spring, it is extremely flexible and can bend horizontally and vertically (backwards, forwards and sideways), making it perfect for boning over and around curves.

In couture garments - ie: within a dress foundation, it is used in conjunction with 2 layers of tulle or bobbinet which is a very fine and very strong netting material which when layered together, has no stretch but provides a fine, non bulky foundation inside a gown.

In corsetry, sprial wire boning is most commonly used in conjunction with coutil fabric and often in partnership with flat sprung steel bones which are not as flexible and therefore useful when a firmer, straighter support is required. Both types of steel boning were invented during the Victorian age and used instead of whalebone.

Spiral steel boning, sometimes known as spiral wire,  comes in various different widths, from 4mm-15mm, and various different thicknesses making it possible to 'mix and match' your boning to achieve whichever level of support is required for any particular project. For instance, you may only need a light 5mm wire to bone a net bodice, but you may need a more robust 7-10mm wire to bone a multi-layer corset for tightlacing. With all boning, there is flexibility!

Flat steel boning, sometimes known as spring steel, also comes in various different widths and thicknesses from 2mm-20mm and is used for a huge range of applications including dressmaking, costume making, corsetry and for making hoop petticoats.  In corsetry it can be used all over the corset, but is always used in the centre back panels either side of the eyelets.  This is becuase the back of the corset absolutely must be straight and strong.

All types of boning, whether steel or plastic, comes either in pre-cut lengths or in continuous reels. It isn't any more economical to buy your steel in a roll and cut it yourself so you have a vast choice - corset makers who make 'standard size RTW corsets' know which lengths of bones they need and will order each length in bulk.  Corsetieres who favour a more bespoke approach will order in rolls and cut to length as required for each project. Sometimes you cant get pre-cut steel that's long enough, for instance in a corset dress which will go over the knee or below the hip. Many are  put off by the supposed requirement for 'brute force' with which to cut it.

How to cut metal corset boning

Flat steel can be cut with tin snips - there's a knack though, or plain old bolt cutters which will treat flat steel of any thickness like butter.  You can cut spiral steel with bolt cutters too if you have them. 

However, if you don't have bolt cutters, spiral wire boning is easy peasy to cut and tip and there is a tutorial on how to do this right HERE.

This week, after having my course outlines prepared for ages, i've finally taken the plunge, chosen a host, and put the first class outline, online.  Wait!  That doesn't mean it's live, just that we're much nearer to live than we were last week.  There's still a bit of work to do, but it shouldn't take too long.

Many people know that I stopped teaching large corsetry classes during the summer of 2018, preferring to focus on individual students who were at a more advanced level.  These were and are my own past students, professional designers, and contour/fashion/costume students who already understand the rudimentries of corsetry.   I gave up my dedicated teaching space and have been doing private lessons in my own atelier ever since.

The reasons for deciding to stop teaching corsetry classes in person were many and varied, however at the end of the day, the one big reason which surpassed all others,  was weekends.  After nearly 8 years of teaching two full weekends a month and not being able to take time off in leui, I became burned out, and decided that a new direction would be more fulfilling for me and my students!

As my 'thing' is really teaching, and I do love teaching the art of corsetry, I needed to find a more sustainable, less exhausting way to do it, and ofcourse, technology came to the rescue!

At the latter end of last year, I enrolled in an unrelated to corsetry, online course - about Instagram actually if you must know - but one of the reasons I did the course, was not so much to find out about Instagram (frankly the money wasn't worth it and my 'growth' has been stagnant ever since*), but to find out how it was presented.  I learned a lot at least from that side and as a result, have signed up to the same platform, Teachable.

My new online Beginners Corsetry course will have 7 modules, plus a Facebook support group and a bonus section of information including sources of inspiration, tips and tricks, a glossary and a bibliography of other online resources both free and paid for. 

As I intend to take a very hands on role in mentoring each corsetry course, the online course will not be 'open all hours'.  I will teach several courses a year and there will be a maxiumum number of students per intake.  Each student will be invited to join a special Facebook group where we can share progress, information, tricks/tips and there will be a 'Live' with me every week during the course, where students can ask questions about the module they are on.  Access to the course and the group will be for life, so the learning opportunities will be infinate to those signed up.

Cost is yet to be worked out.  The format is based on my in person beginners corsetry course but the information load will be much much higher than in person classes.  This is because, working at a more relaxed pace,  each student will be able to absorb much more information per week, than was ever possible over an intense three day corset making course in the English countryside.  

I have alot of work to do still - all the writing is more or less done.  Now I have to brave the video part!  I don't really like being on camera, but mostly it is my hands that will be doing the talking.  

If you'd like to sign up for progress reports and to be first in line to join up, then head over to my School of Corsetry website, and sign up to the mailing list HERE.

If you're not sure what to expect, take a look at the testemonials page HERE.

 

As one of the most important 'ingredients' of a corset, boning tape is one of my main fixations in life when it comes to sourcing the good stuff for my own work and consequently, for you, my lovely customers - I've said it before and I'm saying it again, I only sell stuff that I use myself.  It's tried, tested and given my seal of approval for learners and pro's alike.

So, boning tape.  What's on the shelves here?  Lets take a look and talk about each type and their pro's and cons.  If you want the quick version, just take a look at the video here.

 

Herringbone Twill Tape

This is the cheapest type of boning tape that I sell, and it comes in three colours and three widths.  It took me ages and ages to source this stuff, and I have only ever known one British wholesaler who sells it how I like it - all others are inferior versions or they are not cotton.  So what I have here, is pure 100% cotton twill tape which is densly woven, strong, durable and not bulky.  The twill tape at Sew Curvy is acutally made for upholstery projects, not corsetry, and that is what makes it strong and durable.  If it's good enough to support your armchair, it's good enough for your corset... but don't be fooled.  This twill tape is not bulky or clumsy in any way.

Herringbone twill tape for corsetry - can be used as lovely strong boning channels or for busk facings and waist tapes.

Pros:

• 100% cotton twill tape, easy to sew, strong, durable and smooth.
• Cheap

When to use it and what to use it for:

• 10mm - for fine boning 4mm-6mm widths of both spiral and flat
• 15mm - for regular 7-12mm widths of both spiral and flat boning
• 25mm - for double or triple boning channels depending on the width of your boning - this is especially popular for double boning channels in Edwardian corsetry.

Cotton herringbone twill tape is good for all sorts of corsetry, but particularly for Edwardian corsets where the boning channels run vertically up and down the corset, and not along the seams as in Victorian corsetry.

This twill tape can be used in single layer corsetry, but I and others prefer to use this when the finished corset will be lined.  It's a good tape but it's still a 'budget' option.

All widths can also be used as a strong waist stay although not my preferred choice for that.

Cons: 

• Not the prettiest tape, and can fray at the edges if cut too soon before binding. 
• Not good for uber curves as there is no stretch or tolerance in this tape.
• Not comparable to the tapes you'll find in antique corsetry.* 

*Lets not forget that the corset industry in Victorian times was big business.  There were coutil mills all over England and Europe, there were lots of different steel factories all over the place because busks and (later) steel bones were in huge demand.  There were special machines, special materials and special processes that were created for corsetry,  that we don't have these days because there isn't the demand there was back in the day.  Nowadays we have different materials, processes and machines - they are different but not inferior and that's what we have to work with now.  It's no big deal.  Times change.  We still have twill tape suitable for boning, it's not the same as Victorian boning tape, neither is steel, neither is coutil -  there are literally only one or two original steel factories and coutil mills left in the world none of which are in England whatever you may hear.  Trust me.  I've looked for them, and they don't exist.

Tubular Boning Tape

This is a cotton viscose blend tape which is basically a flat tube in which you put your boning.  It has 'tracks' on both edges which makes it easy to see where to sew.

This tape comes in two colours and one width (it is available in other colours and widths but as yet, not at Sew Curvy).  

This is a very fine boning tape which is also very strong.  It's much smoother and prettier than the herringbone twill tape, and it's also alot more expensive.

tubular boning tape, smooth, strong, luxurious

Pros:

• Strong weave cotton/viscose blend which fully encloses the corset bone once stitched into place
• Adds another layer of 'protection' between the bone and the outer layer of the corset
• Is smooth and professional looking - can therefore be used without a lining.
• Has a small tolerance for curves due to the special weave.

When to use it and what to use it for:

• For wedding and pale corsets where the grey steel of boning can show through - this tubular tape adds a nice dense layer between the bone and the coutil so there is no show through.
• In corsetry where a smooth professional finsih in unlined (single layer) corsets is required.

Cons: 

• It's expensive and not always necessary if you're making a corset where the innards will be covered up. 
• Whilst it's better quality than the herringbone twill tape, it doesn't do a better job than twill tape, it does a different job.

Self made coutil boning channels

Coutil boning channels are the best for strength and durability and, they can make very pretty boning channels and reduce waste - they are a fantastic way of using up your odd bits of coutil ensuring very very little waste and therefore economising in the process.  They can be made in several ways for different applications.

First, and most obvious is the plain 'bias' strip.  I say 'bias' in inverted commas because I rarely actually cut the boning channel on the bias.  I cut it on the straight grain, and put it through a bias folder.  Several reasons - the straight grain is stronger, non stretch and less prone to 'wrinkling' through stretch.  Only on the most uber curvy bits (ie over a large bust or big hip spring) would I use this tape on the bias.  To make a good size channel for 7mm boning, you need the 12mm bias maker, cut strips 2.5cm wide, and iron them through.

Coutil boning channels made with a bias maker look so lovely and are a very economical option as well as strong and durable.  Use up your scraps!

The second way to make your own coutil binding is with pressing bars - and there are two ways to do this.  First, you could make a tube - again on the straight grain - press the seam allowances of the tube over the pressing bar, and apply the channel over your seam - this is good for external boning channels or sheer corsetry where you want your bones to be invisible but need strength.

A corset made by my friend and colleague Izabela of Prior Attire.  She folds her fabric around the pressing bar, centres the resulting strip over her seam, stitches it down in the ditch, then stitches either side.

Otherwise, you can simply use your pressing bar as a folding device, cut your boning channel to the required width (this is a particularly good way to do double channels), then press the sides over the pressing bar, making a crisp outer edge.  Line up the centre of the tape with your seam, stitch in the ditch, then stitch down each side.  Bingo - perfect double boning channels on your corset, matching, and minimum effort.

Pressing bars are therefore good when you're using less bulky coutils, or when you're using fused fashion fabric on coutil.

Pros:

• Coutil boning channels are strong, durable and colour co-ordinated if you want them to be.
• Economical - use up your scraps!
• Easy and satisfying

Cons:

• Can be bulky depending upon the type of coutil used and the method
• Can be fiddly if you don't like making tubes and strips! (practice makes perfect)

Cutting out a corset and boning strips uses most of your fabric that wouldn't otherwise be used. I call this "fabric economy".

What NOT to use when boning a corset?

Well there are several things that I don't think work well for corset boning channels.

Grosgrain ribbon, polyester ribbon (even double faced) and seam tape - these will work if you have absolutely nothing else and no other option but they do tend to wrinkle in a very ugly way if you're not uber careful.  They are also quite thin and can fray/wear quite easily if you don't secure them well enough at the edges under the binding.  I have tried them for a fancy option and whilst not impossible, they are quite difficult to deal with. Having said that, sometimes a thinner option like this is the only way to make a channel where the 'look' is more important than the purpose, ie: when you need to fold over the edges to acehive a 'floating' effect, as in this sheer corset which has narrow grosgrain ribbon for it's boning channels.

Corset: Julia Bremble, Sew Curvy Couture.  Image and retouching by Inaglo Photography, not to be used without permission, model is Valis Volkova

Tailors tape - this can be used for a waist stay because it's fine and non stretch, but although tightly woven, it's a bit too thin to use as a boning tape unless your corset is for light wear only.

 

Tailors tape - brilliant as a waist stay, not so good for boning channels.

Fashion fabrics - unless your fashion fabric is very dense, or is interlined with something strong yet light, you will get bad results with fashion fabric on it's own with regular corset boning.  Having said that, if you use very fine boning, it could work OK on light use corsets.

So there you have it.  There are many opinions about boning tape on the interwebs, some of them quite ill informed because they come from a very narrow viewpoint.  As a shopkeeper, I am lucky because I get to explore all the options and bring the best ones to you, my fellow corset making addicts!

Links:

Find all the bone casing we have on our shelves here

Tools for making bone casing:

Prym bias binding maker
Pressing bars
Coutil

 

 

It came to my attention over the weekend, that the content on my School of Corsetry webpage for Sew Curvy Corsetry Courses, has yet again been copied verbatim by a sewing teacher jumping on the corsetry bandwagon, but as usual, being unable to understand the content enough to be able to deliver it herself in a meaningful way.

This last case was one I actually spotted last year when the owner of said establishment, apologised profusely and promised to rectify the situation immediately.  A year down the line, and here we are again.  She didn't rectify it, and the offending copy is still on her website.  It should have been removed immediately, so obvious is the plaigarism and intellectual property theft.

The one on the left is the copycat, on the right is my own copy written more than 6 years ago.

But how do I know all this?  The usual way I find out.  Their students are coming to me deeply dissatisfied at having attended the 'fake' course and asking me to teach them.  Properly this time.  They have been so confused that they haven't even been able to verbalise what they were taught when I asked them! 

The first was a novice to sewing so one might think perhaps she was too new ... but the most recent is a seasoned fashion designer, and she is just as mystified. 

In view of this, I thought I'd write a fool proof guide on how to find and research the best corsetry teachers and courses and how to spot a fake corsetry course from a mile off.  

First of all, and most obviously, look for pictures.  

When you find a corsetry course, are there any pictures advertising said workshop?  If there are pictures what are they?  For example, I have recently seen courses advertised using pictures of factory made corsets from chinese manufacturers.  If a teacher has no work of his or her own to show, then don't go there.  It's as simple as that.  How do you know where the pictures are from?  Image search on Google if they look even mildly 'product' like.

So, there are pictures that seem to be of corsets made by the person presenting the course.  Yay!  But lets be sure about this .. Is it a picture of a corset, or is it a picture of a bodice that looks like a corset? 

If it's a proper corset, there will be a definate hourglass shape, it will be an extreme looking shape if displayed on the correct type of mannequin.  If there is a 'normal' shape on a regular mannequin, it's not a corset. 

Expect to learn how to make a bodice that looks like a corset.

A real corset on a wasp waisted mannequin.  An authentic corset will not fit on a regular mannequin smoothly.  You need to look for shape if you want to learn how to make a genuine corset.

How many pictures are there of actual corsets?  One?  Two?  Lots?  This is important.  Corset making is addictive - if someone is qualified to teach corsetry, they will have ALOT of corsets to show in the pictures.  Whether they are good or not is a matter of taste and judgement.. if you don't like them, find a teacher whose work you do like.  The important thing is that there are pictures of proper corsets, preferably on people. Even more preferably, on people in prior classes.

Once it is established that the pictures in the course description have indeed been made by the teacher, and that they are proper, shape defining, waist reducing corsets, you need to make sure you know which one you will be making on the course.  This should be clearly stated. 

The teacher should have a pattern you can follow.  Yes.  You need a pattern.  I'll come to patterns later.  If it isn't clear which corset/pattern you're making,  those Spidey senses should be going off.

Are there pictures of a class in progress?

If not, why not?  It may be the teachers first class, but honestly, i'd expect a few action shots because most people who teach corsetry will have started off small, perhaps with a few friends and/or collegues.  There should be pictures of corset making in action or proud owners wearing their freshly made corsets.  If there isn't, ask yourself why there isn't.

If all that checks out, check the copy. 

The course description should be coherent and make sense.

If you're unsure, or you want to double, triple and quadruple check,  just copy and paste some of the text into google and find out if it appears anywhere else.  If your text appears below another bunch of identical text, then it's a copy, because google will always prioritise the original text. Which actually makes copying somewhat pointless in the first place.

If a teacher cannot write their own course description, it is highly likely they can't teach their own content either!  It's all very well saying "that's how all corsets are made" but it isn't actually.  Everyone does things differently and there are enough professional corsetieres in the world teaching corsetry their own way with their own course descriptions, with excellent work behind them.  I should know, I made a whole Conference for them and part of the creative process for a corset maker is finding these processes that work for them.  If you can't describe them yourself, you can't do them, and you certainly can't teach them.

A few years ago, a state run higher education establishment copied me.  They absolutely refused to admit liability because litigation, but they swiftly removed the content and the 'teacher' of that course was given no more work.  Their excuse was "she worked for McQueen" .. Sorry, what?  She still copied my work.  What did she do at McQueen?  Wash cups? draw roses? scrub the floor?  Who knows.  But the fact that Alexander McQueen himself had his corsets made by Mr Pearl in Paris, tells you what you need to know about that.

Now lets talk about patterns...

Corset pattern drafting is an extremely complicated business.  It takes a whole day to teach my method and that's before we've even looked at half a metre of calico for the toile.  There is maths involved.  There is much head scratching and brow wrinkling.  My mantra during my corset pattern drafting courses is "don't worry, keep going, trust me, it'll all make sense in the end" ... They keep going and indeed by the end of day two, it all makes sense in the end.  That's how long it takes to teach the very BASICS of effective flat patterning for corsetry.  Draping corsetry on the stand is even more complex in some ways so don't accept that as an easy way to do it. 

In short, any corset making course which promises to 'draft your pattern from your measurements and make a corset in two days" is rubbish.  It's not possible.  It just isn't.  Trust me on this.  I've been teaching for nearly 10 years, I'm good at relaying complex information in a simple way, but teaching corset patterning is very very hard and it just isn't possible to teach a class how to produce a good bespoke pattern that fits, in one day.

These gorgeous four ladies came to the last pattern making course I ran last summer - I only ever teach it on request these days because it is so hard.  It took them two days to get here.  You know, they are all clever girls.  Kath on top left has been to several of my classes and is very familiar with corset making, Chris top right is a high flying professional, Danute bottom left is the head couturier of a very famous couture house, she can drape things you can't even imagine,  and Renee bottom right is literally a Rocket Scientist.  These are the patterns they created over 2 days.  And we were all exhausted by the end of it!

There is only one course I know which will teach you how to make a proper corset pattern followed by a proper corset.  It takes a very intense 5 days, and it is my own Summer School course.  There may be others that I don't know about, or some in Higher Education or costume courses, but even they are not so specialised.  Top designers leave corsetry to the pros - that's why we have Mr Pearl.

How much should I pay?

A good corset making course will cost.  I'm sorry to say this but you get what you pay for.  Anything under £300 for 2-3 days will not be worth the paper your money is printed on.  Why?  Because corsetry is a skill.  It takes years of obsessive study to learn and perfect.  To teach it, you have to be able to answer any question that is thrown at you.  More importantly, you have to be able to demonstrate why that is the answer, and if you can, give alternatives and promote discussion, and inspire further investigation.  This valuable skill should not be handed out free.  Yes, there's a place for free tutorials on the internet and there are plenty of them, but I have yet to see a single professional corset maker (myself included) who gives their trade secrets away for nothing.  You don't go to work for free, so please don't expect this sort of specialist knoweldge to be cheap.

Craft studios, sewing teachers and fashion designers who do not specialise in corsetry cannot teach it. 

So where to learn?

Costume corsetry - on the whole - is not the same as authentic, body modyfying modern corsetry but there are some good costumers who can teach historical corsetry and some who can teach both.    There are plenty of proper corsetieres all over the world who teach corsetry.  They may not even advertise.  It's always worth an ask.  And better to learn from someone who's work you love - and therefore to support that work, than to spend money on a bandwagon.

So my main advice here, if your'e looking for a course, check the points I mention here, check the testemonials, check everything out thoroughly.  If you can't find a course near you, or one that looks authentic, then find a working corsetiere who's work you like/admire/respect and ask them.  You have nothing to lose.  You'll flatter them even if they say no.  But they might not say no. And then you'll be helping sustain and support a beautiful art for future generations to enjoy.

Here is a list of people I know who teach corsetry and who I would wholehearteldy recommend over any 'design school' , or craft outfit who do not specialise in corsetry. 

The Oxford School of Corsetry - my own teaching practice, based in Oxfordshire, UK, and the only place in the world dedicated fully 100% to teaching many different types of corsetry including one day masterclasses, private tuition, and entire summer schools.

Crickey Aphrodite - based in Scotland, teaches classes whenever she can find a suitable venue.  It's worth keeping an eagle eye on her website.  She will also teach in your own home or teach indviduals in her home.

Morua Designs - based in Chicago.  Teaches perhaps once a year but it's a top notch class and very sought after.

Vanyanis School of Couture - based in Australia.  I myself mentored Lowana's early teaching practice and she, like me runs classes regularly at different levels and has many happy returning students. 

Skeletons in the Closet - based in the Netherlands offers classes occasionaly, keep a check on her website. 

Prior Attire - based in Bedford.  Izabela sometimes runs courses on how to make an authentic Victorian corset to go under your costume.

School of Historical Dress - Based in London also run the odd corsetry course although these are very old fashioned - even using vintage machines and other antique techniques.  These courses are what they say on the tin - for realy history geeks!  You wont find a modern corset here or many modern methods.  But they are real authentic corsets which do the job.

Oxford Conference of Corsetry - a bi-ennual gathering of the worlds top corsetieres from Mr Pearl down.  Meet here to discuss techniques, share knowledge, make friends and have fun.  For all levels of corset maker, be they hobbiyists, professionals or icons!  The next conference will be in August 2019.

The range of plastic boning on sale at Sew Curvy.  All of it is suitable for corsets but in different ways and some, only as a supplement to Steel boning.

I've talked about steel boning in a previous post, so lets now talk about the different types of plastic boning available and the pros and cons of each in relation to corsetry - which is what this site is all about after all.

Rigilene boning comes in three colours, black, white and transparent, and 2 widths, 12mm and 8mm

The most common type of plastic boning - and the most widely available - is  known as "Rigilene" which is made from polyester, a type of plastic.  Rigilene has been the boning of choice for many a dressmaker over many a decade.  It can stiffen, shape and hold your garment or parts of your garment and gives very light support.  It is thin and flexible, easy to use, can be moulded with an iron, can be sewn through and sometimes comes ready covered in satin or felt, making application to your garment even easier.  You'll find it in a range of ready made garments including prom dresses, bodices, skirts, jackets, wedding gowns.  In short, it can be used for all manner of sewing or craft applications where light stiffening and light shaping is required.

From the perspective of corsetry,  Rigilene boning is not a good choice because it is too light to support a proper corset pattern, it will not help modify the body in any way, it will also distort over time giving you unsighltly lumps where you really don't want them!

Having said all that, I do use Rigilene in corsetry and dressmaking for various little jobs where I need a bit of extra 'body' to a certain section of a garment - horiszontally over the bust to make a rounded shape for instance, or at the side bust to help a forward thrust where light help is required.  I also use it in corset modesty panels where only a slight amount of stiffness is required because I can sew through it and it makes one job less fiddly.  I sometimes use it as a supplement to steel boning in certain closed front corsets and bodices but it wont give enough support on it's own.  A novel application I've heard it being used for is to make feeding tents for babies and breastfeeding mums.

Triple flex plastic boning comes in different weights and widthes but is mostly very flimsy	It is made from thin plastic folded three times - hence 'triple' flex	It is what is inside 'twill covered boning' and in this formation serves a similar purpose to Rigilene boning.

Tripleflex' plastic boning is a thin clear plastic boning which has been folded three ways.  It comes in various weights and thicknesses and is used for the same things as rigilene although a separate boning channel is required. Unlike rigilene, it is not heat proof and it is not strong;  it unfolds itself if you so much as show it an iron. The best way to use tripleflex plastic boning is when it is fully enclosed in twill tape aka 'twill covered boning".  This is as easy to use as plain rigilene and as it is ready covered, negates the need for a separate boning channel and therefore gives a smoother, neater finish than rigilene.  Tripleflex plastic boning certainly has its uses but you can't shape it and it will perish over time, so it is no good for heirloom garments or proper dress foundations.

Reinforced plastic boning is thick and pliable but not springy

Reinforced plastic boning is a thick pliable translucent plastic boning with harder white plastic threads running through it.  These threads are the 'reinforcement' of the title, and they prevent the boning from twisting.  This sort of boning is about 1-1.5mm thick, comes in various widths, and is good for using in place of flat steel boning where lightness is more important than strength.  It has no spring, and althought it could be used in light "corsetry" (ie: for children or young people where you don't want reduction) it is most commonly found in supportive swimwear because it is waterproof and elasticated fabric will do the job of keeping things streamlined and contained!  It will not help mould the body and it is not sprung which means it creates no tension which, in combination with your pattern and your fabric, aids corset shaping.  I don't stock this type of boning at Sew Curvy as I find it doesn't do anything that the other types of plastic boning I stock doesn't do.

Plastic 'Synthetic Whalebone'  is great for period style corsetry and comes in various widths and thicknesses.  It is extremely hard to photograph!

Synthetic Whalebone is a semi-rigid, fine translucent plastic boning which comes in a very wide variety of widths and thicknesses.  It is available to retailers from only one manufacturer in Germany and has been specially created to be a good lightweight alternative to flat spring steel boning. 

According to the manufacturers catalogue this type of boning is "100% plastic, is machine washable and possesses good spring characteristics,  therefore returning to its original shape without any tendency to kink".  Note:  I have seen this type of boning being confused with plastic 'multi bones' from the same manufacturer, which are made from spun polyester and are not the same as synthetic boning as they are described in the catalogue as being "extremely soft".

Other benefits of synthetic whalebone:  It is very light, smooth, easy to use, and can be moulded to shape with hot water or an iron/steam.  The thicker 6mm version which is 1.5mm thick, is the type which is most like authentic whalebone and most useful in Victorian style corsetry.  It works well in period corsets and historical costumes where a degree of authenticity is required, however, it is plastic and is therefore not an authentic substitute for either whalebone or metal boning which was invented by the Victorians to replace baleen.

Historical corset boned with Synthetic Whalebone by Izabela Pitcher of Prior Attire

Where it is useful for a degree of authenticity is it's shaping properties and it's lightness and this is the reason that many historical costumers prefer synthetic boning to metal boning in their corsetry.  It is also true that some people find it more comfortable than steel boning, in the same way that some people find steel boning, much more comfortable than plastic boning.  

In Victorian clothing, bodices and jackets are often boned - the lighter synthetic boning is good for this.

Side by side two authentic baleen corset bones (top) and a plastic 'whalebone' at the bottom (white).  The modern version is maybe half a mm wider than the actual whalebone.

Thickness is also similar.  In the middle is the 6mm x 1.5mm synthetic whalebone, either side are the genuine baleen bones. To handle, the plastic bone is much stiffer, but ofcourse the baleen bones are very old so it could be that they are more flexible due to age and use - in terms of their flex, they are somewhere between the thinner synthetic wb and the thicker.

Personally I prefer the smoothing properties of steel particularly at the front of the corset where I like a flat appearance rather than the rounded tummy of authentic Victorian style corsetry, however I do know of modern makers who do prefer SW over steel.  It's really down to personal choice and as ever - experimentation.  SW is around the same cost as steel so it's not an economical choice at all.

As for the question, "Is plastic boning better than steel boning?" (or vice versa), the short answer is No.  Plastic boning is different to steel boning, it's not better and it's not worse.  It can perform the same function, but remember all plastic isn't created equal, sometimes it can be the best choice for a particular project, sometimes steel would be a better choice - as usual, it's for the maker to decide what to use project by project - we are lucky to have choice and it's exciting because it means we can do more things!

General note on all types of plastic and polyester boning.  Plastic never decomposes and it's manufacture is not enviromentally friendly.  As discussed elsewhere on this site, most plastic boning will deteriorate with wear over time - it will not disappear and it will not appear to be changed, however it's original properties may be lost or distorted over time - whether that is 10 years or 100 we cannot know yet because plastic hasn't been around long enough. 

Links:

Buy plastic boning - our selection of plastic boning at Sew Curvy includes Rigilene in three colours and 2 widths, Synthetic Whalebone in 2 widths and 2 thicknesses, Twill covered tripleflex and satin covered Rigeline.

Really interesting article found while researching, on polyester fabric, what it is and how it's made.  This site is also good for other stuff such as fabric printing and labels!

Boning for dress foundations - which to use?

Steel boning - how to use it

 

 

 

 

 

I said this in 2014, and I'll say it again - read more to understand the context of why I said it and why I stand by the statement that plastic boning corrupts over time and simply does not stand up to the job. photo copyright : Julia Bremble, please do not use without permission

I've talked about steel boning at length all over this website, and will soon write a blog post on plastic boning for your interest and information.  As ever, I present no pre-conceived conclusions and encourage experimentation at every step of your sewing journeys which is why it's no secret that I do not agree with the statement "plastic boning is better than steel". It isn't better and it isn't worse, it's different.  I stock various types of plastic boning and lots of different types of steel boning because each type is useful and apart from anything else, it isn't in my interests to persuade you one way or another.  In my quest to be a good shopkeeper and educator,  I personally test everything on my shelves and I do extensive research not only because I want to pass the information on so that customers can make an informed choice, but because this is my passion too. My overriding aim is and always has been that YOU choose what is best for your practice, and you make your choices after research, experimentation, experience.  It's your call, I can only give you information, inspiration and my own opinion based upon what I have found to work best for me.  

Dior dress foundation photographed by veteran corset maker Alison Campbell of Crikey Aphrodite who was commissioned by a collector of vintage couture to examine and reproduce an authentic Dior style dress foundation. It was during this project that we sourced cotton bobbinet for Sew Curvy which exactly matched the material in this original Dior garment.  Photo copyright: Alison Campbell - please do not use without permission

So lets talk about dress foundations.  

When I wrote this article,  dated March 2014 it was a long time before the current popularity of the plastic material known as 'synthetic whalebone' and I was referring to the more commonly available Rigilene, the plastic boning of choice for many a dressmaker over many a decade, a product which at that time sold in much more quantity than synthetic whalebone (or 'whale' as we call it at Sew Curvy HQ).  It still sells by the heap and because not all of my customers are corset makers, attracts queries on an almost daily basis, the most common of which is 'what's best for boning this wedding/prom dress i'm making, rigeline or spiral steel?.  I always reply that, in my opinion, steel is best but sometimes I will recommend the synthetic whalebone as a suitable alternative to steel - it depends on the purpose and desired outcome.  

an order for sample boning received yesterday - someone's experimenting!

Rigilene has its uses but is no good for serious dress foundations because it wont stand up to the job.  Lets look at why that is and why infact,  steel boning is the boning of choice for couturiers.

Here is a Dior dress foundation photographed by me during the V&A Ballgowns exhibition a few years ago.

Foundation of a gown from the V&A Ballgowns Exhibition a number of years ago -  you can clearly see that it is lightly boned with narrow spiral steel because the grey of the steel is showing through the pale foundation fabric which is made from a few layers of tightly woven cotton bobbinet.

Here is another example of a dress foundation boned with spiral steel, and I am particularly interested in this one because it has toile panniers which I have been fascinated about ever since hearing about them from my showgirl friend and vintage couture conniseur, Immodesty Blaize who found them in the vintage wedding dress she wore to her civil wedding ceremony  in France.  This dress foundation also uses steel boning, again clearly visible by the grey colour under the net bodice, and there is a very good reason for this. 

This dress foundation has multi layered tulle petticoats and toile panniers to support and give structure to the heavy satin dress which will go over the top of it.	source

As you can see from this particular example, this dress foundation is doing alot of work - As a whole it is transforming the body by smoothing the torso with the corsolette and creating the illusion of larger hips with the petticoats and panniers.  The bodice is not only smoothing the wearers body, it is also supporting those petticoats and panniers and the whole thing will then support the heavy satin dress that goes over the top of it.  Dress foundations therefore serve two purposes. 

1. They smooth and shape the torso ensuring a smooth foundation for the wearer.
2. They support the garment itself, improving shape, structure and comfort.  The garment, as well as the body of the wearer is supported. 

Boning is used because without it, the foundation would collapse and would not support the weight of either the petticoats or the over garment.  Steel boning is usually used but in some cases, sturdy plastic boning such as synthetic whalebone could  also be used.  Rigline boning cannot stand up to the job because it is far too thin and flexible.

The boning of choice for couture houses from the golden age, right up to the present day (and I supply many of them with steel boning, never plastic), is steel.  Why?  Steel boning is more widely available than decent plastic boning and it is much more flexible for curvy areas such as over the bust.  Also, steel does not degrade in the same way that plastic does over time, and what I mean by this is that spiral steel retains it's original properties for a very long time, plastic does not.  So although we all know that once plastic is made, it can never be 'unmade', the properties which made it useful when new, will degrade over a relatively short period of time.  Therefore, apart from the other environmental considerations, plastic boning will not produce an heirloom garment. 

This dior foundation is light and 'fluffy' and boned with 5mm spiral steel. You could probably use synthetic whalebone 6 x 1.5mm but would it last 100 years on a body? â’¸ Alison Campbell

What about the argument that plastic is lighter, and that metal can rust?  Both of those statements are of course true, however, in a couture foundation, 5mm spiral steel boning is commonly used in combination with fine cotton bobbinet which is strong yet very light.  In other words, a dress foundation, although it performs light corsetting duties, is not heavy but it does need to be strong and durable.  The steel will never rust if the garment is looked after properly and also because it is galvanised to protect against rusting and because of it's structure (two flattened springs squashed together) it's properties will not change over time.  It is possible to use plastic whalebone for the same purpose and with the same effect but the integrity of the material over time is not so guaranteed and of course where steel could rust if not looked after, plastic can warp if not looked after.  The pros and cons are almost equal so again, we come back to choice when it comes to your own work.

no boning caps - don't faint! â’¸ Alison Campbell

Having personally examined a number of couture dress foundations, and having had clients with collections of vintage couture, and friends who have not only studied fashion but have also studied couture garments for particular reasons and having customers from famous couture houses and production companies who order steel boning by the roll,  I can quite categorically state without a shadow of a doubt, that spiral steel boning is more common in couture dress foundations than plastic boning because more often than not, it is the best thing for that particular job.  

So I am standing by my statement with the following caveat perfectly captured by Robert Dyer in his seminal book "Wasited Efforts' which includes a whole chapter on couture dress foundations that he has studied from the House of Dior who routinely use 5mm spiral steel boning and cotton bobbinet:

"Interestingly, as scholars research and analyze the techniques of master coutiriers, it is often forgotten that the couturier is a master because they abide by no rules but are so confident with the art of sewing and cutting, that decisions are made depending on need not formula.  Sewing after all is simply a series of seams, some straight, some curved.  The crucial part is that the stitcher must become profient at doing them"

And so it is with this exquisite dress by Yves St Laurant for Dior which was created in 1958.

source

The materials listed are silk, metallic thread, glass and plastic.  We can assume that this 'plastic' refers either to the bead and sequin embellishment or the boning used for the bodice that supports a very etheareal and airy, sheer dress which is supposed to look like it is swinging off the body.

"Creating the trapeze silhouette for Dior, Saint Laurent has a rigid understructure veiled under a fly-away cage. A boned corset anchors the dress but allows the delusion of a free swinging cone"  

Without examining the finer details of this garment in person, we can only imagine that if the creator preferred to use plastic boning here, he did so because it was important for the final effect;  I would say that in order to preserve the light qualities of the garment, boning channels designed to hide grey metal boning would have been deemed to 'heavy' whereas plastic boning, being white, would give a more effortlessly etheareal result. 

"Thus, in both surface decoration and in structure, Saint Laurent gained the effect of ethereal, bouyant freedom while retaining the structure of the couture. From the earliest works at the house of Dior through the designer's accomplishments in his own house, Saint Laurent has practiced and perfected this modernist wielding of couture construction and proficiency to seem wholly unfettered"

So here we have a shining example of where, contrary to traditional streams of thought,  the designer may have felt that plastic boning was best for this garment and used it instead of metal boning.  The effect is sublime and as ever proves the point that we should use the things that work best for us and for the project in hand.

In summary

• Not all plastic boning is created equal 
• Rigilene boning is too thin and flimsy to support a functional dress foundation and it will not stand up to the job
• It's a scientifically proven fact that plastic will degrade over time, faster than steel.
• Some sturdier types of plastic boning can take the place of steel in a dress foundation and do the same job with the same effect.
• The best type of plastic boning for dress foundations at the current time, is 1mm-1.5mm thick synthetic whalebone.  The thinner types also will not stand up to the job.
• Metal boning is undisputedly the go-to choice for couture houses to use in their dress foundations.

As ever, context is important.  Where plastic can be used, use it if you want to.  Where metal is more suitable, use it if you want to.  

There are no rules.

The next article will be all about the pros and cons of plastic boning.

Links for further info:

A whole page of 'pins' concerning dress foundations old and new

A Threads article where Susan Kalje uses steel boning as support in garments in surprising ways (probably some of which I would use plastic boning for)

A blog post where a home sewer makes her own wedding dress with a really good technique on how to make really lovely sheer bone casings

Anatomy of a modern gown with a bobbinet dress foundation by Morua Corsetry and Couture

A few blog posts on How to make a dress foundation in several projects by me - including a post where I use rigilene boning in partnership with steel boning to make a moulded bust curve - a technique which I still use in some of my corsetry projects today.  This link also includes more details on the John Cavanah dress which is pictured at the top of this blog post and dates back to a road trip to the Symington archive that I made with friends around 5 years ago.