This post is a summary of the Bad Button Bridal Corset Review video, which you can watch on Youtube if you prefer:
This corset was a sample from Etsy, so it was not made to measure – however any corset you commission from The Bad Button will be custom fit to your measurements, so the measurements of my piece is a bit moot. But for the curious: Center front is about 11″ high, but on the sides the corset is only 9″. The silhouette is an hourglass, the ribcage is about 5″ bigger than the waist, and the hips are also about 10″ bigger than the waist.
Likely 3 main layers: fashion fabric is white bridal satin, backed onto a strength layer (The Bad Button always uses coutil for custom commission) and a sturdy white canvas-style lining.
11 panels, with an extra wide center front panel (closed front). External boning channels laid down over the seams, and floating liner. No garter tabs.
Blue contrasting satin bias strips (matches the boning channels/ embellishment), hand-finished with an invisible stitch; incredibly tidy.
White waist tape (perhaps 1/2″ or 3/4″ wide) extending through all panels of the corset – invisibly secured between the lining and interlining of the corset.
No modesty panel in this sample, but if you requested one in a custom commission it can be accommodated. Closed front, so no placket needed.
No busk (closed front) – instead, there are four 1/4″ wide flat steel bones keeping the center front sturdy. I call these “magic bones” because the stitching for the boning channels are not visible on the outside or inside of this corset!
18 total bones (including the four magic bones in front). Single boned on the seams with 1/4″ wide spirals, in external channels. Flat steels sandwich the grommets in back.
22 grommets total, size #00 two-part grommets with medium/large flange; set equidistantly – held in very well.
1/2″ wide double-faced satin in matching blue – extremely long.
At the time that I’m writing this, to commission this piece (or something similar) custom made for you would be $425 USD.
The Bad Button is run by a delightful and meticulous woman named Alisha in Kentucky, USA. Her careful attention to detail is nicely demonstrated in the embellishment on this bridal piece – it looks rather simple at first, but the more I studied it, the more care I realize went into this piece. It takes a lot of patience and careful measuring to keep the criss-cross ribbons perfectly symmetric, and over 100 pearls in the front were all carefully hand-stitched – additionally, the entire motif was hand-stitched onto the closed front of the corset, which also features the “magical bones” that keep the center front flat, yet do not show any channel stitching on the outside nor inside. The finishing must have taken an incredible amount of time and does not go unappreciated.
I love how the grommet panel is done; there is another purely decorative “channel” of blue contrasting satin laid down before the grommets were set. The grommets have to be set perfectly aligned in order to make the back look tidy, and Alisha does an extremely good job of this. She mentions that she also uses a 2-part setting process in the grommets (hammer and press) to ensure that they are set very securely.
The ribbon laces in the back are extremely long (at least 10 meters) which are both useful for widening the back of the corset to get in and out of it (since it’s a closed front), and they would also be lovely trailing down the train of a wedding gown. But if you don’t like having such long laces, you can easily cut them shorter and seal the ends with a flame or hotknife.
This post is a summary of the “Velda Lauder Bridal Overbust Corset Study” video, which you can watch on Youtube if you prefer:
Center front is 12.5 inches, and the longest part from peak of the bust to the lap is 14.5 inches. It would be more suitable for a short to average length waist. Interesting sweetheart/plunge bustline, which is cut low on the side and back. I consider this on the border of modern slim/Victorian hourglass silhouette.
Likely 2 main layers: fashion fabric is pure white satin – the fashion layer is also the strength layer. (seems to be a thick cotton-backed satin or very-well fused piece), inside is a floating liner of a softer off-white satin.
Technically 5 panel pattern (+ one bust gore in the 2nd panel). Panels assembled using a top-stitch, with grosgrain boning channels laid down under the fashion layer. Floating liner hides the work.
Binding + Embellishment
Commercial white satin ribbon, with the edges not folded under. There is another ribbon with attached beadwork, stitched down under most of the top and bottom binding.
1.5-inch wide grosgrain tape invisibly secured between the lining and interlining of the corset; extends across all panels.
7.5 inch wide modesty panel at the back (about 5.5 inches of useable space), unstiffened, attached to one side, made with white satin.
No busk, only one very thick flat steel bone running down the center front of the corset.
11 total bones. Single boned on the seams, with very wide bones (I believe 1/2″ wide) and only one supporting bone on the very back edge of the grommets. (The grommets aren’t sandwiched.)
20 grommets total, size #0 single-part eyelets with small to moderate flange; set equidistantly. All the eyelets have rolled nicely, but because there it no back/ supporting washer, there is some concern that an eyelet might come out with rigorous lacing of this corset.
I’m not completely sure what this corset was worth when it was still being sold, but I estimate that it would be close to £250 in the UK. (I bought mine for close to half that, because it was a shop/ display sample)
Velda Lauder was a well-respected corsetiere, designer, author and educator. You may have remembered when I reviewed her book nearly a year ago, which contained some interesting corset history. Ms Lauder passed away unexpectedly in March 2013; you can read the lovely tribute to her on The Lingerie Addict. After her website was pulled down, I thought I had lost the opportunity to own a piece of her design – until I stumbled across a few overbust corsets in Fairy Goth Mother’s clearance section. I was quite surprised that they were sold for about half price, as I thought the corsets’ relative rarity (now that they’re not longer in production) would have caused the corsets to appreciate over time. I didn’t want to pass the chance to own a piece of history.
So this video and study is more meant to be a posthumous tribute and respectful study of a part of Velda Lauder history, rather than a “product review” per se. It is still structured like a review however, if you would ever like to compare side-by-side the construction methods of Lauder’s corsets to others and appreciate the similarities and differences.
Although I must admit that this overbust is not really suited to my body type (and it breaks my heart), I still find many aspects of this corset to be lovely – and quite unique! I think this is the first time I have seen a sweetheart corset that is cut so low along the sides and back – but this allows me to maintain a relaxed posture in the corset and elongate my neck, which is a wonderful feeling (I’m used to looking/feeling like a linebacker in overbust corsets). The thick, 1/2″ wide boning under the seams for the corset were also different, as was the presence of only one bone by the eyelets and not the ‘traditional’ two. I’m sure that many people were equally surprised by the construction of this corset, but it shows that corsets can be made in a multitude of ways, and I’m finding more and more often that notable corset designers don’t play by all the “rules” of corset making! This was one of the most fascinating things about studying corsetry.
Rest in peace, Ms Lauder – thank you for leaving behind such a beautiful legacy that can be studied and appreciated for generations to come.