  |
 |
|
|
Stays Making Workshop Notes
|
|
The following notes are intended to
serve as
an additional resource for past workshop participants.
Photographs have been added for all steps except measuring - those will be added as time allows.
There are many photos on this page... so please be patient while they
are loading. Thanks!
To inquire about attending or scheduling a workshop, please email
milliner@cherrydawson.com |
| |
|
|
|
|
|
i
Choosing Stays Materials
When reproducing clothing
from an earlier period it is important to take special care in
choosing the materials for each project. Stays present a particular
challenge since they need to be made well to both provide the ideal
eighteenth century silhouette and support the outer layers of
clothing. As with any reproduction clothing, it is preferable to
look at extant garments for the best examples of what materials to
use. Fortunately for modern costumers, the majority of materials
commonly used in the construction of eighteenth century stays are
commonly available. This section will look at the various materials
that can be used for stays-making, starting with the outermost
layer.
OUTER (FASHIONABLE)
FABRIC
-
Fashionable
fabrics were often used for the outer layer of the stays and
choices included wool, silk, linen, and even cotton fabrics.
With a total of four layers of fabric, plus boning, the choice
of outer fabric is not likely to affect the weight or comfort
level of the finished stays.
-
Wool was a particular
popular choice, likely due to its widespread availability and its
durability. During the time of the American Revolution, the trend
was for darker colored stays, often shades of green, blue & red.
Green calamanco (hard finished wool) was a particularly popular
choice. Prior to this time wool stays were also being made up of
lighter colored wool damask among other choices. Wool satin is
another excellent choice, although more difficult to find in modern
shops.
-
Silk was a more
luxurious choice, but since less than a yard is needed, it would not
have been out of the realm of possibility for a lady of middling
class. Plain taffetas, satins and brocades were used. Occasionally,
the boning channels are not sewn through the silk layer, providing a
smooth outer cover to the stays.
-
Linen can be used
for both the inner canvas layers as well as the outer fashion layer,
or the canvas inner layers can serve as the outer layer itself.
Plain weave linen works very nicely for an outer cover and while
many linen stays used natural linen or similar shades of brown and
tan, other solid colors of linen can be used. It should be kept in
mind that linen is more difficult to dye in the 18th
century so you’ll want to choose colors that are either more subdued
or have a history of being used for linen dyeing. Indigo blue,
madder brown & walnut brown are all excellent choices.
-
Surprisingly,
cotton was also used for stays covering. Cotton satins, sateens and
twills were used with regularity, and once again darker colors seem
to prevail. The Waverly company produces a line of cotton sateen
called ‘Glosheen’ which is available in almost 30 colors, if you can
track them down!
CANVAS INTERLINING
The second and
third layers of the stays are most commonly made up of tabby weave
natural (unbleached/undyed) linen canvas. The weight is generally
between 10-15 oz with a thread count of 30-35 threads per inch in
warp and weft. When choosing the canvas, you want it to have stiff
hand and smooth surface but it should still be pliable enough to
hand sew easily. Even though the channels may be machine sewn the
remaining construction steps require a great deal of fabric
manipulation.
THREAD
Of course all
extant stays were sewn by hand and the sewn channels and eyelets
were most often worked with linen thread. Half-bleached or
unbleached linen thread is size 40/2 most closely approximates the
stitching seen on originals. It was quite common to see the lighter
thread color against the darker fabric of the outer stays layer. The
result is an almost decorative effect from the machine-like straight
stitching. Unfortunately this thread can’t be used in sewing
machines, so if you are opting for machine sewn channels another
choice must be made. The two most suitable threads I have found are
Coats & Clark Dual Duty Plus Topstitching thread (cotton-covered
polyester core) and Gutermann Top Stitch thread (polyester). Both
threads are available in a ‘natural’ shade that closely approximates
half-bleached linen and can be found in most local fabric stores.
The Coats & Clark thread is more lightweight and easier to use with
a machine but the Gutermann thread provides a better finished look,
being closer in weight to 40/2 linen. It may take some
experimentation to find the thread that best achieves your desired
channel effect. For less obvious stitching, 100% cotton machine
thread can be used to good effect.
The channels are
the only section of the stays which can be successfully sewn by
machine. It is highly recommended that linen thread be used for all
other sewing. It is also possible to sew the channels using a thread
color that matches the outer layer of the stays, this is a
particularly good option if you are less confident about being able
to complete straight even stitching by machine or by hand.
BONING
-
Boning choices
fall into four separate categories: baleen (whalebone), wood,
plastic, or metal. Baleen is by far the most authentic and can be
ordered by individual consumers through the Alaska Fur Exchange.
However, since the baleen comes as a whole fin or as two halves, I
can offer no advice on how the baleen is split to be used for stays
but this could be an adventure for the authentically minded!
-
Wood is my boning
of choice and I prefer to use hand-pounded ash staves for their
thickness and smoothness. They are generally 50/1000” thick and have
a beautiful feel to them. Since the wood is hand-pounded, the growth
separate in the process, providing strips that are inherently strong
and run perfectly on grain. The flexibility they offer can’t be
matched. Splint or stave boning was used in period, making this an
excellent alternative to baleen. Oak splint may also be used, but
I’ve had less luck finding a smooth finished source. Half-round reed
is another option but has more of a tendency to crack than pounded
splint. Wood boning has the added bonus of being able to sew through
it.
-
Plastic, while
obviously a modern choice, does offer some benefits that make it a
worthwhile option. Plastic behaves much like baleen, in that is will
flex with the figure, can be molded with heat and is nearly
impossible to break. There are three different options when it comes
to plastic: common dressmaker’s boning, rigilene, and cable ties.
Common dressmaker’s boning is the bulkiest but it is lightweight
enough to sew through. It also holds its shape when steamed and can
be easily re-molded after wearing. Rigilene is designed to be sewn
through and is the lightest of the plastic bonings. It is better
saved for stays that don’t need to provide much bust support. Cable
ties are an attractive and inexpensive option as they are available
in narrow widths which mimic the excessively narrow boning channels
in late 18th century stays.
-
Metal boning is
the final option. Available in ¼” and ½” widths, finished steel
boning is an acceptable option. It can be purchased in finished
lengths, eliminating the need for edge finishing. However, once
bent, it is difficult to remold to a different shape. Spiral steel
boning, is just that, a length of spiral-bound steel, pressed flat
and finished with end caps, purchased separately. While spiral steel
boning offers more flexibility and will more easily return to its
original shape, it is a great deal heavier. Steel strapping is also
useable and is a more economical option, since it comes in an uncut
roll. The down side is that it’s more dangerous to work with and the
cut ends need to be treated with a dipping solution to provide a
buffer to the sharp cut edges.
BINDING & WELTING
Historically,
these steps can be ignored altogether and a simple casting stitch
can be used over the cut edges of the stays to keep the boning in
place. On the other hand, since a more aesthetic look is usually
desired, welting strips can be added along the seams and binding can
be added along the top and bottom edges of the stays. Originally,
stays that had welting strips primarily used a narrow ¼” woven silk
tape. Without a modern substitute, a leather strip cut the same
width can be used. The choices for binding are more numerous and
include silk tape, silk ribbon, strips of wool, and the most common
choice, strips of leather. Leather provides the added advantage of
protecting the body from any pieces of boning that would otherwise
be digging into the flesh. Sheepskin and goatskin were most commonly
used, and modern chamois is likely very similar to a binding
referred to as ‘wash leather’ in the period. Pigskin is another
acceptable choice.
LINING
The final element
of stays construction is the lining. This is the one section of the
stays that may end up undergoing laundering treatments and/or
replacement before the stays are completely worn out. ‘Lining
checks’ and ‘striped linings’ are listed among period merchants’
offering and likely refer to a medium-quality blue and white
checked, plaid, or striped linen commonly used for linings in the
eighteenth century. This layer is closest to the body and meant to
absorb any body soiling or odors as well as to provide a neat cover
over the interior construction. Any linen will do but care should be
taken to ensure that the dyes are colorfast…. Otherwise a pink or
blue shift may the result after wearing the stays on a hot, humid
day! |
|
BACK TO TOP
|
|
i
Measuring for Stays
Photos & directions
will be available shortly! |
|
BACK TO TOP
|
|
i
Laying Out a Pattern
|
|
BACK TO TOP
|
|
i
Instructions to Construct Stays
 |
Construction begins with the back pieces. Flip pieces
over to the unbleached linen side. Separate the top layer of
unbleached linen along the edge that will have eyelets. Cut
away the extra linen of the topmost layer of unbleached
linen as close to the basting stitching as possible. Make
sure you cut only one layer! This will reduce the bulk when
folding along your basting line. Once the single layer of
unbleached linen has been trimmed, fold the back pieces to
the inside along the basted center back line. (This is the
same edge that was trimmed and will have the eyelets) |
 |
Using a straight edge (I prefer a clear quilting ruler),
draw a chalk line approximately 3/8" away from the folded
edge. This will mark the line which will create a boning
channel along the back lacing edge. |
 |
Using a spaced backstitch and a single strand of 40/2
bleached linen thread, stitch through all layers along the
line that you chalked. The bulk of the fabric will keep your
stitches spaced apart. Try to keep them 1/4" apart at
most.
You will see very small prick stitches on the right side of
the piece and it will look like a running stitch on the
inside. |
 |
Here the two back pieces have been folded, chalk line
marked 3/8" away from fold, and spaced backstitch stitched
along the chalk line. Marking the position of the eyelets is
next. |
 |
In this photo the right back piece is on top and the left
back piece is on the bottom. The topmost and bottommost
eyelets must match, the remaining eyelets are offset.
Beginning with the right hand side, make a chalk mark 3/4"
from the bottom. Measure up 3/4" and make another mark.
Continue making a mark every 1 1/2" inches until you are no
less than 1" away from the top. On the left side, mark the
first eyelet position, 3/4" from the bottom. Mark the
remaining positions 1 1/2" apart until you are no less than
1" away from top. You will need to add an additional eyelet
at the top on one side, to match the top eyelet on the other
side. This eyelet will be 3/4" above the previous eyelet.
Which side this falls on will depend on the overall length
of piece. |
 |
You will be stitching your eyelets next to the spaced
backstitch. Using an awl, separate the threads to form a
hole for the eyelet. I prefer to use a common awl (found at the
hardware store) with a 1/4" shaft at the base of the handle.
When shopping for an awl, try to find one that fits
comfortable into your palm, as most of the pressure will be
felt there. |
 |
It is important to use an awl rather than cutting a hole
with scissors or a leather punch. An awl separates the
threads of the woven fabric but does not break them - as a
result the eyelet is much stronger. |
 |
Eyelets are stitched with the thread (bleached linen
40/2) doubled in the needle. To begin the eyelet, run the
needle through the layers and come up 1/8" away from the
edge of the eyelet hole. Let the tail end of the thread
disappear between the layers. Send the needle down into hole
and come up through the layers next to your first stitch,
again 1/8" away from the edge. If possible, sew through your
first stitch as this will help to anchor your stitching
without the use of knots. |
 |
Repeat this step all the way around the hole. You may
need to insert the awl after every two or three stitches to
keep the hole opened up. Inserting the awl after every
stitch will help create a more professionally finished
eyelet. Try to stitch approximately 16 stitches around the
hole, Please note: This is not a buttonhole or blanket
stitch. It is a simply overcast stitch to bind the opening
of the threads that have been spread apart by the awl. |
 |
Super close up view of right side of eyelet! The linen
seen in the center of the eyelet was placed underneath to
prevent the flash from glaring against the table. When your
eyelet is finished, you will have bound hole through all
layers. |
 |
When ending each eyelet, bring your thread to the wrong
side and slide the needle & thread through several of the
eyelet stitches. If you have enough thread left, continue
onto the next eyelet without cutting your thread. This will
chain the eyelets together and the resulting eyelets will be
stronger. The connecting threads should be on the side of
the eyelets farthest from the folded edge. (As seen in the
photo) This will allow the connecting threads to be covered
by the lining in the final construction steps. Generally
your thread will allow two or three eyelets to be connected.
Don't start a new eyelet unless you are sure you have enough
thread to finish it. |
 |
Here all the eyelets have been completed on the back
pieces. You can see that the eyelets are offset. If you are
making stays with a stomacher front, you will repeat this
entire process along the lacing edge of the two front pieces.Once all the eyelets are in place, it's time to add
channels. |
 |
You'll need a straight edge and a chalk marker or pen. I
like to use the chalk wheels made for quilting. The provide
a thin, precise line, are refillable and come in several
colors. For a straight edge you can use a ruler or a piece
of plastic or metal boning. Using your original pattern as
a guide, chalk the channel lines in the same directions on
your individual stay pieces. For a fully boned pair of
stays, boned with ash splint, channels should be just a tiny
bit wider than 1/4." If using an alternate boning, use
boning as your guide to determine channel width. Boning
should fit snugly inside channels. |
 |
If sewing channels by hand, use a single strand of
bleached linen thread (40/2) and backstitch along the marked
chalk lines.
If sewing channels by machine, I recommend Coats & Clark
Topstitching thread in the color 'natural'. This mimics the
heavier linen hand-sewing thread but still works well in a
sewing machine. Regular thread can be used in the bobbin. Sew along the marked lines, backstitching two
or three stitches at the top and bottom of each line. Make
sure to start and stop your stitched inside your original
basting line.
When reaching the end of a line, lift the needle &
presser foot, pivot the pattern piece and sew down the next
line. You do not need to sew all lines in the same direction
or cut threads between each line. |
 |
Some pieces may require you to stitch channels that
intersect. On those pieces, sew the straighter, longer
channels first. When sewing the intersecting channels (which
are often curved or on an angle), leave a long thread tail
in the machine needle and start stitching exactly at the
intersection point - do not backstitch. When you reach the
end of the channel at the basting line, you can backstitch
two or three stitches as usual. When sewing towards the
intersection, stop exactly at a join and leave an extra long
thread tail. Be sure to move threads out of the way when
sewing nearby channels. |
 |
If your thread is in loops (as in the picture above), cut
them apart at the halfway point. Do this on the right side
and wrong side of the stay piece. Working on the wrong
side of the pieces, gently pull on the thread tail, one at a
time. This should create a small loop of thread to appear as
you pull the thread from the right side through the layers.
Once the loop appears, use a pin or needle to open the loop
and pull the thread completely to the wrong side of the
stays. Tie the two thread tails together with a square knot.
Cut off excess thread, leaving only 1/2" beyond the knot. |
 |
The top photo is of the wrong side and is showing the
threads pulled to the wrong side and knotted together. The
picture below show the neat appearance on the right side
when using this method to secure your threads. As you can
see, it's well worth the trouble!
Once the channels have been completed on all pieces, you
are ready to move on the next stage. |
 |
Each piece will be folded to the inside along the two
vertical basting lines (the side edges only - not the top &
bottom). Press well with a steam iron until the stay piece
will hold the fold on its own. Repeat for all pieces,
including stomacher, if you have one. |
 |
One half of the stays pieces have been completed and are
shown in the order they will be sewn together. The curved
edges will be more difficult to fold to the inside - you may
need to trim the seam allowance down to 3/4" and the pieces
are unlikely to lay flat once the fold is pressed into
place. |
 |
The next step is to begin joining the pieces. Pin two
adjoining pieces with rights sides together. Match the
basting lines and follow curves if necessary. Using a double
strand of 40/2 linen thread, overcast the two folded edges
together, working through all layers. You want this seam to
create the final channel on each piece. Be sure to stop
before you get to the bottom to allow the fingers to remain
spread apart. Refer to your pattern for the stopping points. |
 |
As each piece is joined to the next, press the seam as
flat as possible. Here is one half of the pair of stays,
with all pieces joined together.
|
 |
Welting is optional. It serves a decorative purpose and
hides the seams. Begin by pinning the welting strip to the
inside of the stays at the top of a seam. You will pull it
over the top to the outside. The pin will secure it until
you have completed enough stitches to hold it in place. |
 |
The welting is applied with a herringbone stitch,
although most of the threads will be carried below the
welting and hidden. The basic pattern is a backstitch along
one edge of the welting, slide the needle diagonally beneath
the welting to come up along the opposite edge. The key is
to pick up several threads of the stays with each
below-welting pass. This can be done after the boning has
been added which gives a nicer finished appearance. However,
the stays are much easier to manipulate and add welting to
before the boning is added. |
 |
The boning can be inserted at this point. It will be
placed between the two layers of unbleached linen. It should
extend beyond the basting lines at top and bottom. Boning
pieces should be cut and shaped to fit into the intersecting
channels. Once all channels are boned, you'll need to finish
the seams on the inside. Trim the seam allowance down to
between 1/2" and 3/4" along each piece. Using a single
strand of thread, whipstitch the three layers of seam
allowance to the inner layer on unbleached linen. You can
use a blanket stitch here if you prefer. These don't need to
be small stitches - just enough to keep the seam allowances
flat against the stays body. |
 |
Once the welting is finished and the inside seams have
been cast down, you're
ready to begin cutting away the excess material & boning
from the top and bottom edges. |
 |
I recommend working on the top edges of the stays to
begin with. Using scissors or a 1" chisel, cut through all
layers, including boning, just outside the basting stitches.
Cut slowly and carefully around the curves and try to avoid
cutting any of channel stitches. Cut away excess materials
along the entire top edge. |
 |
Stays are bound with strips of 3/4" leather. Place the
right side of the leather against the right side of the
stay, with the leather overhanging the cut edge by 1/8". Sew
the leather to the top two layers of stays fabric using a
backstitch (10spi) but do not try to sew through the wood.
The seam line should be 1/4" away from the edge of the
leather and 1/8" away from the edge of the stays. It may be
helpful to draw the seam line onto the leather using a
pencil. |
 |
The leather binding should extend around the corner to
the center back along the lacing holes. It only needs to
extend about 1" and is sewn in the same manner as the rest
of the binding. The end of the leather is finished with a
cut edge, it does not need to be turned under. |
 |
Once the binding has been sewn to the face of the stays,
it is ready to be stretched over the edge and whipped down
to the stays interior. |
 |
An underhand hem stitch or a whip stitch will work to
hold the leather binding in place on the inside of the
stays. Try to keep the stitches fairly close, approximately
6-8spi. Be particularly careful when stitching the corners
since they will not be covered by the lining. |
 |
The flash makes this difficult to see... but once the
binding starts to go on, this never-ending project really
begins to look like stays! |
 |
Once the top edge has been completely bound, it's time
to tackle the bottom edges. Just remember to go slowly and
take breaks often! Sorry... no pictures for binding the
bottom of the stays but you'll see the results in the next
few pictures while I'm applying the lining. |
 |
Checked linings make the process a bit more
interesting... and not quite as tedious as plain white! The
first step is to apply on the straight edge of the lining
against the eyelets on the wrong side of the stays. In this
case, I was able to use to the selvage. If the selvage
doesn't have a nice edge, simply turn it under and place the
resulting folded edge against the eyelets. The lining should
cover any threads that trail between your eyelets. |
 |
Make sure that there is enough lining fabric to cover
the entire piece you are working on Here the lining has been
pinned to the interior of the stays along the eyelets at the
center front. The stays are shown right side up to help show
the excess lining fabric that is needed. |
 |
This is the top edge of the stays with the lining
trimmed to 1/2" away from the binding. |
 |
Small clips are made into the curved areas to allow the
lining to fold smoothly along the curving armsyce. |
 |
The lining is turned under along the top edge and held
in place with straight pins. The next step is to sew along
the front and top edges, securing the lining in place. When
attaching the lining to a bound edge, you will be sewing the
lining to the leather. |
 |
An underhand hem stitch is the neatest way to attach the
lining but a whipstitch will also work. Again, try to keep
stitches between 6-8 spi. |
 |
As usual, dealing with the fingers at the bottom is the
tricky part! Working with one tab at a time, trim away the
lining 1/4" away from the binding, turn edges under, sew in
place and then move on to the next finger. |
 |
Here is the same finger with the edges turned under
waiting to be sewn. Sewing the lining to each finger should
be completed before moving on to the next finger. This
ensures that there is enough lining material to cover each
finger as you progress. |
 |
Once the first finger has been lined, move to adjacent
finger. Repeat the steps above: trim lining 1/4" larger than
finger, turn edges under, hold in place with pins, and
stitch to the stays. Repeat this process for all fingers.
After the bottom edge is completely lined, place stays right
side up on your workspace. Trim excess lining away along
remaining edge of stays. The lining should be trimmed
slightly away from the edge to prevent cutting into the
stays. Turn this edge under so that fold is at the edge of
the eyelets, covering any thread trails between eyelets. Pin
in place and stitch lining to stays. Construction is over...
congratulations! |
 |
Finishing touches....
Make sure to remove any basting threads that are visible.
There are likely to be thread remaining along the folded
edge parallel to eyelets. Be careful not to cut into the
stays! |
 |
If making stays with a stomacher front, lace the back
together before proceeding with steaming. |
 |
Keeping the top of the stays upright, allow the fingers
to splay open against the ironing board. Apply a hot iron
with steam setting against the stays just above the top of
the finger where the stays will be bending over the hip. |
 |
While stays are still damp and warm, place them flat on
the ironing surface. Using your hands, continue to splay the
fingers open so that they are spread out and fully extended.
A gentle curve should form just above the top of the fingers
at the hip area. |
 |
Re-steam and repeat the molding process until you are
happy with the results. Allow the stays to cool in this
position and it hold the shape on its own. |
 |
Using the same steaming & molding process, treat the top
of the center back of the stays. This section should curve
gently towards the body. This will eliminate (or at least
reduce!) the often-seen stays ridge that appears underneath
clothing at the upper back By taking the time to do these
steps, the stays will be become more comfortable to wear and
provide an improved 18th century figure. |
 |
 |
 |
| Front View |
Side View |
Back View |
|
|
BACK TO TOP
|
|
|
|
|
|
