The Importance of Boning and Interfacing

Boning is most evident in garments such as corsetry, this is however not the only place it is employed in sewing.  Boning ensures that the garment maintains a certain shape.  Even though the fabric chosen may indeed be much heavier than would normally be worn and may be normally thought better suited to upholstering chairs it will not withstand the demands placed upon it with firm to tight lacing and the constant movement of a body.  Most modern boning is too light for historical purposes but still has it's uses.  

Metal stays are top of the line for rigidity.  Wicker canes are the closest we have to the reeds that were found in historical garments and are generally available from craft suppliers.  Wale bone, whilst it is not actual bone is out of the question these days for many reasons, not least of which is environmental.  In a pinch metal coat hangers might have to be sacrificed so that your dress making might look it's best.  If your choose to do this bend the end back on themselves so that there are no sharp edges to the metal that will work their way our of the garment and into you.

I use a combination of metal boning and commercial plastic boning.  This is for 3 reasons.

1.    Cost.

2.    Availability of boning.

3.     Level of structure needed.

Boning along the edge that will be lace ensured that this edge doesn't collapse.  With out this structuring of the garment, buckling will occur and ruin the line and fit of the garment. 

If the pattern has a    V    back, such as the Venetian backs, then in order for this shape to be maintained.  This boning could be the one bone that goes in straight up and down or 3 bones placed like this   \ | /  .  This gives more stability to the shape. Fronts of      V   bodices need similar support from boning.  The straight up and down boning in the center front and the diagonals    \ |   | /  .  Additionally to this other bones may be required dependant on the size of the wearer. 

 

Boning pattern for the front of the dress.  From left to right. metal, synthetic, metal, synthetic, synthetic.  First and third bones are essential. Boning pattern for the back of the dress.  All metal boning.

*  Please note that this is that pattern I use and is not the only way of boning a bodice.

Modern fabrics are normally to light for my purpose and need to be interfaced or mounted.  I use cotton drill, or medium to heavy weight linen at a minimum.  A heavy canvas is normally my preferred option for mounting.

Linings are normally in a natural fiber such as cotton or linen.  Often I mount these also as I put the boning in to the lining fabric so that the ridges created by the boning are less visible on the outside.

Boning a bodice does not replace a good foundation garment such as a corset.  This is partially dependant on the size and shape of the wearer, but is a good rule of thumb.  Different style of bodice dictate the style of corset necessary, that being a short corset for a short wasted bodice and an extended front corset for an extended front bodice.  And conversely the same is true, that a corset does not always replace boning and other forming of a bodice.

 

 

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All intellectual content, composition, layout, designs and photographs copyright 2007 to Deborah Lane © , 2003 to Deborah Murray © or Mistress Oonagh O'Neill ©. All Original renaissance art works and artifacts are not copyright to Deborah Lane, and are shown for educational use only.  If you see something you'd really like to use, please contact me!