LESSON BUSTIER
LEARNING OUTCOME
At the end of the lesson, you must have;
1. Identified the different types of bustier;
2. Acquired knowledge, ideas on the different types of bustier.
LEARNING CONTENT
The corset was developed originally to protect, support and shape the
female bust.
In Georgian era, corsets had a flattening effect pushing the upper torso into
a tubular form while Victorian corset had a voluptuous, Rubensian look, the
seaming and boning sculpting the body into an hourglass shape.
In 20th century, a popular look of the 1950s was the conical effect of the
bust.
Corsets and bustiers are draped closer to the form, but the same
construction principles are applied to achieve specific fits and subtle sculpting of
the female figure.
Understanding and using of grainlines correctly is very vital in creating a
corset that performs well. The grainlines need to work together with the boning to
create support and shape. It is crucial for the length grain and cross grain to
balance, otherwise the ring of tension around the body will be broken, the corset
will twist, and support will be lost.
As a designer, you need to think that the grainlines are the architectural
blueprint. It serve as a structure to create a stable foundation, the strength of the
grainlines and positioning of the boning enable the corset to give support and
shape.
1|P age
Pelobello, RJ
Preparation of the Fabric and Materials for the Bustier
Fabric. Bustier and corset are made in variety of fabrics, even knits or
stretch panel containing Lycra. This kinds of fabrics allows some flexibility in fit and
breathing room even when tightly fitted. However, for full control and support, and
a more precise fit using it is preferable to use woven fabrics.
Corsets are commonly used as foundations for gowns. They are ideally
made of a flat weave fabric in which the length and cross grains have equal
strength, such as damask or fine cotton.
Chiffon, light voile and silk tulle can be used. They are delicate and
beautiful, but will only work if the grainlines are balanced and sufficient boning is
used to keep the fabric taut.
Interlining. The muslin or finished fabric will often be fused or backed to
create a firm panel
Boning. Boning should need a careful decision as go. It will play a large
part in determining the silhouette and look of the bustier. It is usually placed in
areas where most support is needed, like the side front. This will hold the bust
toward the center front. Traditionally, it is also place in the center front and the side
back. Boning is placed in the sides is often uncomfortable.
Boning comes in various form:
1. it can be stitched directly onto the lining,
2. it may come in a casing which can be stitched on or before the boning
is reinserted.
3. Metal spiral boning will need a bias casing made for it or tunnel
constructed between layers of fabric.
Petersham Ribbon. It is very useful to construct the bustier with a length
of ribbon stitched at the waistline. Petersham ribbon is strong yet can be steamed
into a curve. This element serves as dual purpose:
1. Anchoring the bustier firmly at the waist with the ribbon makes it easier
to know exactly the distance from the bust point to waist, which is helpful
when fitting the more difficult bust area.
2. When putting on a bustier, if the waist ribbon is done first, it is then easier
to fasten the other closures, which can sometimes be awkward to do
without help.
Closure. Bustier can be fastened in a variety of ways: zippers, buttons,
hooks and eyes, or a busk.
Buttons will gap unless the bustier is not too tight or it has an underlayer
with a more secure fastening.
Zippers are efficient, but be careful in a fashion show or costuming situation
because they sometimes break a critical moment.
2|P age
Pelobello, RJ
Hook-and-eye tape or busk is common solution.
Muslin. Hemp/Silk muslin is used here for the bustier because it is easy to
see the grainlines. Bustier are draped very tightly to the form, and if you are able
to see the grainlines clearly, you can tell right away when the pieces are twisting
or pulling.
Princess-Line Bustier
The lace-front bustier shown here is a soft,
lingerie garment as opposed to a heavily structured
corset.
The princess lines gives the shaping over the
bust. In this case, the lace overlay make it easy to see
the styleline. The bustier does not have a very fit, so the
buttons on the front closure do not pull. The fitting seam
begins at the armscye area, then extends over the bust
point and down toward the
waist.
Bustier with Georgian Shape
This Versace bustier has a tougher, edgier
quality. The metal zipper and heavy topstitching add
to the armorlike quality.
The grainline placement creates a Georgian
silhouette. The center front lines are vertical and the
side panel grainlines slant toward the center front,
causing the energy to focus toward the waistline
with the bust line receding.
The multiseam front divides the fit of the bust
into three panels instead of the two used in the
princess-line bustier.
The bust shape will be
softer and flatter than
the more defined
silhouette achieved
with the single seam.
3|P age
Pelobello, RJ
REFERENCES
Draping for Fashion Design. Retrieved from
https://www.pdfdrive.com/draping-for-fashion-design-
e187301311.html February 10, 2021
Draping the Complete Course. Retrieved from
https://www.pdfdrive.com/draping-the-complete-course-
e157984926.html February 10, 2021
Dress Design, Draping and Flat Pattern Making.
https://www.pdfdrive.com/dress-design-draping-and-flat-pattern-
making-e186946068.html February 10, 2021
4|P age
Pelobello, RJ
