Most of my fabric corsets are made using sandwich method with lining strength layer and fashion fabric top layer. Assembling technique ensures durability and allows tight lacing,

I use high quality cotton lining (brocade or twill) that works excellent with body heat and liquid. 

Fashion fabric options include:

  • Basic smooth cotton sateens of all colors. Its cost is included in corset price, just select the color and I’ll send you a picture of available shades.
  • Printed cottons, cotton brocades (in-stock or purchased on demand). Nice for daily wear or baroque imitation.
  • Silk taffeta, shantung and dupioni in many shades. Taffeta is really smooth silk for luxurious historical corsets. Shantung will contain some slubs, but have unique colors I couldn’t find in taffeta range. Dupioni silks are most textured and may be used for modern designs.
  • Silk satins, brocades and damasks could be also purchased if the source is within the budget (note that shipping costs, transaction fees and taxes will be added to fabric price) or with additional payment. I also have small in-stock selection available for “silk” price option.
  • Polyester fabrics, including high quality satins. Purchased locally on demand, if you need something shiny for your burlesque or textured for cosplay needs.
  • PVC and faux leather - for goth, fetish, fashion designs. 
  • Genuine leather - for bespoke designs only, with separate price calculation.

Mesh and canvas

Mesh (sheer) corsets are made of semi-soft corsetry mesh. It doesn’t frill or cut your skin, but it’s quite gentle. I don’t recommend it for tightlacing due to subtle stretch, but it’s perfect for daily stealthing and rare burlesque acts.
I have limited range of colors available, but they include neutrals like white, black, cream, brown, and some colors (pink, red, navy blue, etc.) - ask for possible combos.

Historical ventilated corsets are based either on embroidery canvas or sheer cotton-linen blend fabric. They are best as undergarments for daily gowns, while evening dresses are better supported by fabric corsets.

Fusible layer

I reinforce all kinds of lining and fashion fabrics with lightweigth cotton/pe fusible fabric. It makes it more long-lasting with less probability of bones poking anywhere, minimizes wrinkles on thin fabrics and adds plasticity to many tricky materials.


Spiral steel - used for almost all styles, combines extreme durability with flexibility in two dimensions. I often use it even for 18th century stays and earlier, since it protects most curvy seams from wearing.

Flat steel is used for straight parts like lacing sides or center front.

Regular plastic bones are not so bad as many think. I use rigid ones, that are flexible in one dimension only and often add them in my signature double boning paired with spiral steel. Plastic removes excessive flexibility, allows more comfortable cinching without making the corset too heavy.

I also like synthetic whalebone - mostly for heavily boned stays. It is lightweight but flat and nicely replaces authentic whalebone. But it’s still sensitive for too much bending, that’s why I always include several spiral bones in between.

I never use rigelene in corsetry, since thin plastic straps easily damage any fabric.


  1. Classic spring steel busks. Used for historical corsets starting mid 19th century and for various modern styles. Lets you put on the corset without unlacing the back, or even tighten yourself without any helper if you practice enough.
  2. Narrow busk with gold / bronze clasps. Added to decorative corsets with specific color palettes and embellishments. Accompanied with golden/bronze grommets too.
  3. Black coated steel busk. For fully black corsets (with black grommets too). Other colored busks can be ordered on demand.
  4. Wooden solid busk - for 18th century and regency stays mostly (and earlier periods too). Rigid, bust spreading, inserted into solid front pieces - also can be removable for easy cleaning. Be careful, it could be broken if you bend too much!
  5. Wide steel underbusk - for modern corsets with solid front piece. Also used for regency or earlier styles, if customer is ready to sacrifice a bit of historical accuracy to flexibility. 
  6. Wide steel Hard busk. Extremely rigid, but not so thick as may seem. I use it for plus-size customers who demand great waist reduce, or for ladies with F+ cup. 
  7. Spoon busk. Hard steel, wide, bent on the tummy level. Used for late 19th century period Natural Form (1877-1882) with glove-fitting feminine dresses.

Laces and trims

I offer various kind of laces in-stock and can find some custom types and colors.

For historical corsetry I often use cotton lace, very gentle and detailed. Sometimes even antique, if I find cute piece for my collection. High quality polyester and rayon/viscose laces are also available, usually in more colors and width options. 

For modern corsetry, both mesh and fabric, embellishments are mostly made from synthetic embroidered lace. I prefer extra fine patterns that make exquisite finish to my designs. 

Silk ribbons are incorporated in many historical styles - I use those to tie straps, removable busks and adjusting cups. 

Default back lacing is made in 3-mm polyester satin cord. It's tested for many years as excelent solution for corsetry - smooth, easy to tighten, makes reliable knots that are easily untied when you need it. It doesn't damage your fingers and is more durable when dealing with grommets than any ribbon. And I have these cords in almost every color.

Fashion lacing can be done in double-faced satin ribbon. I can add it to mesh corsets, especially burlesque ones, by default. I use 1/2" width mostly, color range is limited.

Waxed cotton cord is also possible for some thin details, but I do not offer aglets for those. 

Eyelets and grommets

Default grommets are 3-mm stainless steel or nickel in silver shade. I may change them for gold, bronze or black if it matches the corset fabric better - or you can request it when ordering.

5-mm grommets are also available, if you have problems with using too small eyelets (like your usual lace aglets are larger).

I also offer handstitched/worked eyelets as an option for historical garments, see Options page for details.