How I made my Regency Stays
(aka regency corset)
Last year in the lead up to the 2024 Melbourne Regency Picnic, I made myself a pair of longline regency stays, with some modifications to make them easier for me to put on by myself. They came out pretty darn comfortable, though there's a couple changes I'll make to the next version.
Pattern:
I really like the Laughing Moon regency and romantic corset (LMM115) pattern, it's straightforward, accounts for underbust and waist measurements and kind-of hip spring.
Fabric:
I used an old, sturdy sheet from a secondhand store for my stays. The whites for the fabric, thread and binding don’t quite match, but oh well, that’s the price you pay when the most expensive part of your project is the busk. I think the total materials cost for this project came out to around $20 australian.
(showing off my pattern tetris because I can)
Busk:
I don't have the flexibility for lacing behind my back with a closed-front corset, and don't want to have to rely on someone else to get in and out of the darn thing. So I just put a modern split busk into the centre front seam. Makes putting my stays on super easy! There is enough space/seam allowance in LMM115 at the centre front to just insert is as-is if you use the “front opening” pattern piece, just get a busk that's approximately two binding widths shorter than your front edge. You may need to adjust the cording lines at the centre front depending on how close to the busk your machine is able to sew.
Tracing out cording lines:
Use heat-erase pens and a lightbox or light board to transfer lines from your pattern to the fabric. Only need to do this once per side, on the *outside* layers/the layer you want the topstitching to be done from. Test whether or not your heat erase pen comes back when refrigerated. If it does, you don't have to worry about accidentally ironing away markings when inserting the gussets or busk. You do want to mark out where the gussets are on the inside layer.
with and without the backlight
Sewing the cording channels:
Minimise the number of thread ends by pre-plotting out paths of machine stitching that you sew. Start with the lines that have the most intersections and move down from there. Overlap your lines of stitching as necessary and aim to finish as many paths in the seam allowances as possible. Example is LMM 115, red (front/busk) first, then orange, yellow, green, cyan.
Gussets:
The instructions for LMM115 say to insert each layer of the gussets into their corresponding main panels individually before you do any cording. I didn't do this, I basted my gussets together and inserted them between the layers of the main panels after I'd run as many lines of cording stitching as possible with the fabric still flat. This allowed for a try-on and little bit of adjustment of the gores before they were permanently topstitched into place.
I also pre-stitched around the stitching line for the gussets (the outer line and black points) for each layer individually with a short stitch length, going down shorter in the cm or two around the point. This helps with pressing along those lines and preventing fraying around the point as you handle the gusset.
My process for inserting gussets is to first stitch along the fold line, then cut the opening and press along the fold line thoroughly. I also baste/mark the stitch lines onto the gussets (two layers zigzagged together). I pin then baste the gusset into the outside layer only, then baste the lining into place, starting at the top edge each time with my basting stitches.
Eyelets:
I hand sewed all my eyelets, using an awl to separate the threads. I think I might’ve put in some fusible woven interfacing into the areas with eyelets to prevent them from tearing out quickly, seeing as the fabric was relatively thin. If you want to do a more historically plausible version of this, inserting a layer of buckram or even a piece of twill tape into the back edge can help reinforce the stitching.
Binding:
If you're not wanting your regency stays to be super pretty, simple twill tape can do the job nicely. I used 1" wide cotton twill tape folded in half. It was basted in place by hand, the curves were "set" with an iron, then machine topstitched in place. Removing the basting stitches is optional, especially if the thread isn’t super high contrast (no, I’m not lazy). You could also sew the binding on right sides together, then turn over the edge and whip/topstitch into place like standard bias tape for a more delicate binding or if you have extra-wide twill tape.
Lacing:
I cheated and just used 1/4" elastic for my lacing and the ties on the straps. Allows for some flex, doesn't impede on arm movement and accommodates changes throughout the day.
Changes for next time:
The next version I make will need adjustment to where the hip gussets start, based on wrinkles I'm getting along the back waist line. I also need to either get a better white busk or just work with a silver one, and figure out a placket to cover the posts.
Extra thoughts:
1) the elastic lacing has its limits. Yes, it's comfortable, but also allows unideal movement (slouching) and can be a pain to put on. Next time, I'll make these with fan lacing.
2) After trying it on again a year after initial construction, I definitely needed to change the hip gussets. Pear-shaped, high-hipped me and the base pattern don't line up nicely. Bottom edge could be longer.
