Corsets

H i s t o r i c Patterns and Techniques

Jill Salen

Acknowledgements
C o m p i l i n g these patterns w o u l d not have been possible w i t h o u t the support of the museums I have visited. I w o u l d l i k e to thank in particular P h i l i p W a r r e n ; A l e x D a v e y ; C a r o l i n e L o c k w o o d and C h a r l o t t e M o b b s o f Leicestershire C o u n t y C o u n c i l M u s e u m Services ( S y m i n g t o n C o l l e c t i o n ) ; A l t h e a M a c k e n z i e o f the H e r e f o r d M u s e u m ; R o s e m a r y H a r d e n o f the F a s h i o n M u s e u m , B a t h ; C h r i s t i n e Stevens ( n o w o f B e a m i s h O p e n A i r M u s e u m ) ; E l e n P h i l l i p s o f S t Fagans N a t i o n a l H i s t o r y M u s e u m , Wales; B r i g i t Lapsley and D a n i e l l e Sprecher o f C o l c h e s t e r M u s e u m ; R i c h a r d Blakey. Jean and Pawel N o w a k and V i n a C o o k e have been k i n d e n o u g h t o a l l o w m e take patterns from corsets h e l d in their private collections. M a n y others have helped sustain and encourage me: Susan H a r d y ; Cissian R e e s ; E l i z a b e t h F r i e n d s h i p ; the R o y a l W e l s h C o l l e g e o f M u s i c and D r a m a ; D o n M o f f a t ; M a r y B r i t t a i n ; Joanna and R e b e c c a Salen. M o r e i n f o r m a t i o n can be f o u n d at w w w . j i l l s a l e n . c o m .

First published in the United Kingdom in 2008 by Batsford 10 Southcombe Street London W 1 4 ORA An imprint of Anova Books Company L t d Copyright Batsford Text Jill Salen The moral rights of the author have been asserted. A l l rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright owner. ISBN-13: 9781906388010 A C I P catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2

Contents
Acknowledgements 4 Introduction 6 Patterns
Finely W h a l e - B o n e d C o r s e t , c. 1750 B r o w n Jean C o r s e t , 1780 Pregnancy C o r s e t , 1 7 8 0 - 8 5 B r o w n Jean C o r s e t , 1790 L i n e n C o r s e t , 1790 Pink J u m p s , 1798 26 30 34 38 42 22 14 18 10

Projects
W h i t e L i n e n J u m p s , c. 1790 G i r l ' s W h i t e Jean C o r s e t , 1900 1 02 1 08

Techniques 114 Further Reading 124 Useful Addresses 126 List of Suppliers Index 128
58 62 66 70

Rural C o r d e d Corset, 1830-40 C o r d e d TafFeta C o r s e t , 1840

R e d - a n d - B l a c k Lasting C o r s e t , 1860 Child's R e d Stay B a n d , 1 8 8 0 - 8 5 G o l d E x o t i c C o r s e t , 1885 Swiss R i d i n g C o r s e t , 1890 50 54 46

127

'Pretty H o u s e m a i d ' C o r s e t , 1890 Khaki C o r d e d Corset, 1890-1900 Large B l u e Jean C o r s e t , 1 8 9 0 - 1 9 1 0

B l a c k - a n d - Y e l l o w Flossed C o r s e t , 1 8 9 0 - 1 9 0 0 Black C o r s e t w i t h B l u e Flossing, 1890 White R i b b o n Corset, 1900-10 Silk R i b b o n C o r s e t , 1 9 0 0 - 5 L o n g W h i t e C o r s e t , 1914 86 90 82 78 74

G e r m a n Ersatz A u s t e r i t y C o r s e t , 1917 Doll's Corsets, c. 19th c e n t u r y 94

Introduction
My interest in corsets can be traced back to the 1950s when my grandmother and greatgrandmother were still wearing them. I was fascinated by corsets; I did not understand why my grandmother and great-grandmother wore them, and my initial curiosity has led to this book.

W h o is this book for?

This book is aimed at the costume maker w h o has a w o r k i n g knowledge of costume construction. T h e shapes of the patterns and the direction of the grain found in this book should provide sufficient information. A n y finishing details the costume maker might require can, I hope, be found in the photographs provided. A l l corsets referred to in the book are from museum or private collections so it was not possible to place them on dress stands to photograph them, but I have included museum archive photographs wherever possible. D u r i n g my time as a costume cutter at the Welsh National Opera Company, from 1976-82,I wanted more corset and bodice shapes than I could find in Norah Waugh's Corsets and Crinolines or Janet Arnold's Patterns of Fashion (see Further Reading, page 124). As theatrical costume makers we rarely have time to visit collections and carry out research, so we are dependent on our designers' references and our few books. Corsets and Crinolines is an invaluable resource for costume makers, however, 18 corset patterns representing 250 years only gives us a few variations of corset styles that must have existed. My aim was to add to my knowledge, and hopefully supplement the makers' repertoire, with additional shapes and styles of corsets. Included in this book are instructions for making a hand-stitched corset and a machine-stitched corset (see page 102 and 108), so that the inexperienced corset maker has some guidance. Every corset construction is different and when one seeks to adapt a historical pattern for contemporary use, the methods of constructing the corset need to suit the use to w h i c h the corset is to be put, w h i c h the maker must adapt and decide upon.

Terminology
Throughout this book 1 refer to the garments as 'corsets'. Originally they were referred to as 'a pair of bodies','stays' or as 'corsets'. A 'pair of bodies' was an early term, most usually used when the garment laced at the back and the front. 'Stays' could lace at the back and/or the front, and later a 'corset' w o u l d usually lace at the back and have a split-busk fastening at the centre front. Earher corsets used a single lace to close the garment, and later ones had a double criss-crossing lace, w h i c h was laced so that the wearer could tighten or loosen her corset herself Corsets that only closed at the back meant that the wearer needed help to dress.

Factors that affect the corset

W h e n one considers the variety of underwear worn today, we k n o w our choice of undergarment is dictated by many factors. T h e same would have been true in the past. Age of wearer: an older woman may have chosen to wear the styles of her youth. Income: this obviously dictated what the wearer could afford. Social class: if one belonged to more elevated social circles more fashionable and possibly a variety of styles of undergarments w o u l d have been w o r n .

6 Introduction

Occupation: this w o u l d have affected what was w o r n . In the 1950s and 1960s my grandmother wore her older, more comfortable corsets in the m o r n i n g when she cleaned the house and changed for the afternoon when she w o u l d visit and be visited. She referred to this as 'breaking-in her stays'. Availability of source materials: the properties and qualities of source materials, such as whale bone, would affect the style of corset. T h e appearance and use of metal eyelets (French holes) after 1828 meant that tighter lacing was possible. Before that date, hand-worked eyelets w o u l d have torn if put under too much strain. Occasion: specific styles of corsets were w o r n for particular occasions. For example, there were corsets specifically for court dress, riding and (in the late 19th century) sportswear.

Provenance and dating

I have put the corsets in this book in museum date order, but provenance is not always clear - a corset may conform to one period and yet definitely be from a different era. Leicestershire M u s e u m Services has two 1830-40 corsets in its Symington C o l l e c t i o n , w h i c h absolutely exhibit the characteristics of that decade. T h e y are completely hand stitched, string corded and have a wide whale-bone centre-front busk. These two corsets could have been made years later, just in the style of 1830-40, because someone liked the pattern or had always w o r n that style. O n e of the corsets had had additional side panels inserted and machined i n , so an 1830-40 string corded corset was being altered for wear after 1855. T h e reason why this corset was altered for wear years after it was originally created is not clear; it could have been due to hardship, for dressing up purposes, for a play/pageant or it could have been because the owner was i l l but, not wanting to go without her corsets, instead chose to revert to this "old-fashioned style", w h i c h was more comfortable than the corsets being w o r n in the 1850s. T h e Symington Collection has a red-and-black corded corset, w h i c h is dated at 1860. They also have a grey-and-black corset dated 15 years later (1875), w h i c h is very similar, though it has a split busk at the centre front. Piatt Hall in Manchester also has a similar corset, w h i c h is brown and fawn and dated around 1880-90. C a n this mean that the same style of corset was being w o r n for 30 years? In the few collections I have visited I have been surprised that the corsets on display seem to cluster around certain dates. T h e 1860 red-and-black corset and its close relatives explain to some extent how hard it must be to date a corset with no provenance. L u c k i l y Leicestershire Museum's Symington Collection is well provenanced - the curators are certain that the red-and-black corset was created in 1860, otherwise it could have been thought to be a variation of the 1880-90 corset in the Manchester M u s e u m . Two very basic guidelines for dating corsets are: if a corset is machine stitched, it w i l l have been created after 1851 if a corset has metal eyelets, it w i l l have been created after 1828 Now, after compiling these patterns and techniques, I actually have more questions than I did when I first embarked upon this project, and I am happy with this outcome - to be a good maker you always have to be questioning, researching and problem solving.

Construction
These days costume makers rarely have the time to sew a corset by hand. If the corset is to be seen, this book w i l l aid the maker in reconstructing the garment as far as time and budget allows. If the corset is not to be seen, it w i l l help the maker to achieve the correct silhouette for the period.

Introduction 7

W h e n constructing corsets I make toiles of corset patterns, near and around the correct date, without altering it to fit the contemporary figure. I then find someone who fits the corset, observing how the corset affects the wearer's posture and what it does to her figure. T h e patterns in this book are presented for the maker - make o f them what you will.

Current corset manufacturers

It is an enjoyable process to look at, measure and draw corsets. I am indebted to the s t a f f the museums w h o have helped me write this book - particularly Philip Warren at Leicestershire Museum's Symington Collection, w h o has an in-depth knowledge of the collection and w h o helped me to understand the mass manufacture of Symington's corsets from 1860-1990. T h e Symington Collection was created by the Market Harborough-based company R & WH Symington, which began making corsets for ladies in the 1860s. T h e company eventually grew into a major international business. This unique collection was presented to Leicestershire C o u n t y Council's Museums Service in 1980. It includes some pieces made by their competitors, and some pieces that pre-date the setting up of the company. As a collection it provides insight into the development of corsetry manufacturing in the U K . As part of my research for this book I went to see Ian and C o r i n a Voller of Vollers to discuss why Vollers has managed to survive as a corset manufacturer. T h e company was started in 1899 by lan's great-grandparents in Portsmouth, a city where corset manufacturers were the major employers of women from 1880-1950. Today Vollers have an interesting clientele: lingerie supplier R i g b y & Peller, high street stores and a bespoke service by mail order or via the internet. Their business is worldwide - they use the internet as a showroom and can respond to the whims and fancies of the current market. Vollers have survived, unlike larger companies such as Symington's, because they are a small and flexible enterprise offering a bespoke service. For example one of their leaflets from 1950 promised that you could 'have your favourite corset copied'. D u r i n g the period 1950-80 Vollers grew old along with its customers, then in 1991 Ian and C o r i n a took over and rejuvenated the company's approach. They now sell their corsets through a beautifully photographed catalogue, w h i c h inspires the buyer, w h o now wants a corset that w i l l be seen and w o r n as a garment. Interestingly Vollers' current corsets are based on their original patterns of 1899.

W h y do corset styles alter?

There are many reasons why the styles of corsets have changed ower time: Changing fashions demanded different underpinnings. Availability of/changing materials. For example in the 19th century whale bone became less plentiful, and better quality steel for boning became available. T h e invention of metal eyelets in around 1828 - these reinforced lacing holes allowed a woman to be very tightly laced. T h e invention of steel split-metal busk fastenings in the 1830s. These were in general use by the 1860s, so that a woman no longer had to be laced into her corset by someone else. The invention of the sewing machine in 1851. This made it possible for the industrialization and mass production of corsets to take place. W i t h industrialization in the 1850s came the ability to produce more corsets for less cost. Industrialization led to the marketing of corsets, w h i c h reinforced the need for appropriate corsets for specific occupations and leisure activities, such as corsets for housemaids and tor horse riding.

8 Introduction

 The industrial R e v o l u t i o n in the 19th century brought the w o r k i n g woman a disposable income for the first time. She spent her money on keeping up with fashion, often emulating her mistress.

H o w were changes in corset making passed on?

Before the advent of cheap newsprint and illustrated advertisements, how did corset styles change in a seemingly uniform manner across the U K ? Word of mouth and observation could be the answer. At the lowest income level, drovers came from outlying areas of the U K , bringing their cattle to London. Presumably they took home information that affected fashion - and consequently the underpinnings of fashion. As early as 1693 occasional periodicals were printed, w h i c h were aimed at women. Occasionally these periodicals contained patterns for corsets and fashion advice. The Workwoman's Guide (1838) by A. Lady advocates buying a corset from a stay maker and then buying another unmade-up, to take a pattern from it. Occasionally there were patterns in publications such as Godey's Ladies Magazine (1830-95). Newsprint became cheap to produce at about the same time as the invention of the sewing machine in 1851, w h i c h facilitated the mass production of corsets. Because newspaper advertising was inexpensive corset manufacturers were able to publicize their wares, offering women new styles.

H o w representative are corsets in collections?

It must be remembered that corsets in collections are no different from the clothes in our o w n wardrobes today. Often the garments that linger in our o w n wardrobes are: Ill-fitting. Expensive special purchases too good to give or throw away. Items that no longer fit - but that we hope w i l l fit again one day. Special occasion items that conjure up the event they were w o r n at, such as wedding outfits, a first ball dress, christening robes - in other words, garments that do not reflect everyday wear.

So the garments in museums do not always give us quite the w i n d o w on the past that we might hope for Usually these garments are small in size, making us think that people in the past were a lot smaller than we are now, when in fact often the garment was simply too small to cut down for someone else. Women have w o r n corsets as underpinnings for more than 400 years. In the past they were a necessary foundation under clothes, allowing women to have a fashionable silhouette - refining the waist and supporting the back and bust. W o m e n have not w o r n corsets as a fashion aid since the 1950s and at that time both my grandmother and great-grandmother were still wearing them. They would not have felt dressed without their corsets - not because they were seeking to achieve a more youthful silhouette, but because the corsets formed part of their armour of respectability. M o d e r n women are secure in the knowledge that it is not how you wear your clothes that determines whether you are respectable or not, but the way in w h i c h you behave. It is interesting that in 2008 - when 51 per cent of the population is female, when we have had the vote since 1928, equal pay since the 1970s and where we feel more than entitled to have a career and children - that we are still choosing to wear corsets, usually visible for all to see.

Introduction 9

Finely W h a l e - B o n e d Corset, c.1750

T h e s e are b r o w n l i n e n stays w i t h a centre-back closure. T h e front is o p e n for 8 i n (20cm) o f the 1 4 i n (35.5cm) and then stitched together. T h e r e m a i n i n g 8in (20cm) has h a n d - w o r k e d eyelets a n d there is a strong single t w i n e laced t h r o u g h t h e m , w h i c h i s decorative and practical. F i n e bands o f w h a l e b o n i n g , f l o w i n g gracefully i n t o o n e another, suggests an u n d e r s t a n d i n g of the needs a n d c o m f o r t of the wearer, and that it was created b y makers w h o u n d e r s t o o d the forms they were w o r k i n g w i t h . T h e w h a l e b o n e extends d o w n i n t o the tabs of the corset so that it flows over the waist, rather than p u s h i n g f o r c i b l y i n t o it. A corset such as this p r o b a b l y n e e d e d the strength of a m a n to construct it but the subtleties of the design suggest a w o m a n ' s i n v o l v e m e n t , w h e t h e r as the wearer or s o m e o n e engaged w i t h the c o n s t r u c t i o n . Indeed, at this t i m e m e n were the stay makers but they often e m p l o y e d their wives and daughters and c o u l d take on girls as apprentices, a l t h o u g h they rarely d i d . T h e r e is no c o r r e s p o n d i n g h a n d - w o r k e d eyelet for the s h o u l d e r r i b b o n tie on the front of the stays, but there are t w o d r i l l holes, w h i c h c o u l d have b e e n used to fasten the s h o u l d e r strap; there is no e v i d e n c e of t h e m ever h a v i n g been h a n d w h i p p e d , w h i c h they w o u l d have b e e n o n a corset l i k e this. Corsets in the early to m i d 1700s d i d n o t always have s h o u l d e r straps, but by the 1780s, w h e n the b o n i n g was b e c o m i n g m o r e sophisticated, s h o u l d e r straps were m o r e necessary for the d y n a m i c s of the corset.

Opposite: This corset, dated to around 1750, is held at the Colchester and Ipswich M u s e u m , U K .

Patterns 11

12 Patterns

14 Patterns

B r o w n Jean Corset, 1780

T h i s corset i s c o n s t r u c t e d out o f t w i l l - w e a v e b r o w n j e a n fabric, w i t h a l i n e n l i n i n g . T h e b o n i n g is w h a l e b o n e a n d the corset is h a n d stitched. T h e r e is a delicate f a n n i n g of b o n i n g , l e n d i n g support w h e r e it is n e e d e d and d i s p l a y i n g an u n d e r s t a n d i n g of the fabrics used, u t i l i z i n g their properties. T h e r e is a stiff, c u r v e d t h i c k e r piece of w h a l e b o n e , h o r i z o n t a l across the bust a n d w i t h straight h o r i z o n t a l bones across the shoulders c o m b i n e d w i t h a l o n g straight back to support this l o w , e x p o s i n g front to the corset. T h e edges of this corset appear to be b o u n d w i t h a n a r r o w w h i t e k i d o r g l o v i n g suede. At this t i m e , the corsets c o u l d have b e e n centre-back fastening, centre-front fastening or have b o t h , w i t h or w i t h o u t a s t o m a c h e r u n d e r the laces or p i n n e d over the l a c i n g , or even c o v e r e d in w h a t w o u l d be considered a dress fabric - because the corset was g o i n g to be seen. T h i s corset c a n n o t lie f l a t o n the table and r e m i n d s o n e o f a n i c e - c r e a m cone. It w o u l d have fitted a w o m a n w i t h a 3 6 i n (91cm) or larger bust and a 3 0 i n (76cm) waist, not dissimilar measurements to the P r e g n a n c y C o r s e t (see page 18), but m u c h shorter in the b o d y l e n g t h . T h i s m a y be because the wearer was shorter or because fashion dictated a h i g h e r waistline. If the latter, this suggests that it s h o u l d appear c h r o n o l o g i c a l l y after the P r e g n a n c y C o r s e t , but for the c h r o n o l o g y of this b o o k , I have f o l l o w e d the date g i v e n by the m u s e u m . T h e s w o o p i n g side seam is delightful, u s i n g the g r a i n of the fabrics to flow a r o u n d the b o d y a n d support the bust. T h e s h o u l d e r straps tie closed at the front w h i l e the centre back of the corset w o u l d have been closed by s o m e o n e else, u s i n g o n e lace.

Patterns 15

16 Patterns

Patterns 17

Pregnancy Corset, 178085

Jean and Pawel N o w a k gave p e r m i s s i o n for this corset from their costume c o l l e c t i o n to be measured and i n c l u d e d in this b o o k . It was b o u g h t m a n y years ago and the seller t h o u g h t the corset was V i c t o r i a n . T h e y believe it to be a p r e g n a n c y corset, w h i c h is certainly possible. T h i s corset w i l l have fitted s o m e o n e w i t h a 3 8 i n (96.5cm) bust a n d 2 8 i n (71cm) waist n o t w h a t we w o u l d c o n s i d e r stout, but the l a c i n g was present for some k i n d o f ease o r c o m f o r t . A s W i l l e t t and C u n n i n g t o n in The History of Underclothes say: 'the o p e n corset was laced in front and b e h i n d , and for stout p e o p l e extra side l a c i n g m i g h t b e a d d e d ' . A n d N o r a h W a u g h in Corsets and Crinolines says 'a side l a c i n g seems to have been used for p r e g n a n c y ' (see F u r t h e r R e a d i n g , page 124). T h e corset is beautifully made and has o b v i o u s l y been w o r n ; it shows litde damage except for the tape a l o n g the centre-front seam, w h i c h is unravelling, a n d the r o u g h l y s e w n - i n l i n e n l i n i n g , w h i c h does l o o k w o r n .

Opposite: This pregnancy corset is dated 1780-85. It is held in a private costume collection belonging to Jean and Pawel Nowak.

Patterns 19

20 Patterns

B r o w n Jean Corset, 1790

T h e fabric o f this corset i s b r o w n j e a n , h a n d s e w n and w i t h w h a l e bone t h r o u g h o u t . It is a beautiful corset, in g o o d c o n d i t i o n , w i t h no alterations. A stain on its back panel does not appear to be f r o m wear. There is a b o n i n g c h a n n e l on the s h o u l d e r strap but no b o n i n g in it and the shoulder strap ties up at the front. T h e g a r m e n t is delicately stitched but it w o u l d have taken some strength to do the s t i t c h i n g . T h e r e is b o n i n g f a n n i n g out t o f l o w w i t h the b o d y ; the crossing o f the bones i n d i c a t i n g a n u n d e r s t a n d i n g o f the properties and capabilities o f w h a l e bone w h e n c o m b i n e d w i t h fabric. T h e corset l o o k s l i k e the support structure for a b r i d g e . T h i s corset w o u l d qualify as h a l f - b o n e d stays, t y p i c a l of its p e r i o d and designed to elevate and push the bust f o r w a r d . It is s u p p o r t e d by 50 or more fine w h a l e bones gradually f a n n i n g out, and the h o r i z o n t a l bones across the bust w o u l d have ensured a s m o o t h l i n e to the l o w - c u t front. T h e l o n g back o f this corset w o u l d help support the v e r y l o w front. 1 i n c l u d e d this corset in this b o o k because it w o u l d be achievable for the m o d e r n corset maker, as it presents less difficulty than the fully b o n e d stays s h o w n on previous pages. It is o n e of the styles seen from 1770 onwards, by w h i c h t i m e the makers of corsets h a d b e g u n to realize that it was the d i r e c t i o n of the w h a l e bones that was i m p o r t a n t , m e a n i n g that less seaming was used. F o r closure, o n e lace w o u l d have been used. O n e of the eyelets has b e e n displaced, so that w h e n the t w o fronts came together they w o u l d be evenly m a t c h e d .

Opposite: Corset from 1790, held Hereford M u s e u m , U K . These photographs show the outside of th( corset (top) and the inside (bottom)

Patterns

24 Patterns

26 Patterns

Linen Corset, 1790

T h i s corset i s made u p f r o m t w o layers o f l i n e n ; u n u s u a l l y the l o w e r edge of the corset has b e e n faced w i t h its b i n d i n g rather than b e i n g b o u n d w i t h it. It has t w o bust gussets a n d a fine d r a w s t r i n g in a c h a n n e l a l o n g the bust edge of the g a r m e n t , to a l l o w the wearer to draw the edge i n . It has a centre-front o p e n i n g and yet the s h o u l d e r straps close at the back w i t h , unusually, three lace holes, but l o n g ties have been a d d e d fo the straps, which may have crossed at the hack and tied in front. T h e centre-back p a n e l is h e a v i l y b o n e d and there has b e e n some a m e n d m e n t or alteration on the b a c k side seam; it is interesting to speculate w h e t h e r a n e w front was added, or a l o n g e r front r e d u c e d , w h i c h w o u l d a c c o u n t for the r e b i n d i n g o f the l o w e r edge. A l t e r a t i o n s can be difficult to understand, but are always interesting. There is an empty bone channel on the front panel where it meets the side b a c k p a n e l , w h i c h appears c u r v e d b u t i s i n fact straight. T h e eyelets are displaced at the t o p of this corset, as o n e lace w o u l d have b e e n used to close it.

Opposite: This corset, from 1790, is held at Hereford M u s e u m , U K .

Patterns 27

28 Patterns

30 Patterns

Pink Jumps, 1798

T h i s pretty corset i s made w i t h p i n k silk taffeta l i n e d w i t h l i n e n . N o bones are present, but b o n i n g channels are visible. Seams have 1/4in ( 6 m m ) w i d e t w i l l tape s e w n a l o n g their gutters. T h e t o p a n d b o t t o m o f the j u m p s ' are b o u n d w i t h silk r i b b o n . T h e s h o u l d e r straps a n d the centre-front fastenings are later additions, and I have n o t i n c l u d e d t h e m i n the pattern. A t the l o w e r part o f the centre front the fastenings appear to have b e e n gently laced and, h i g h e r up, the r o u n d e d tabs close w i t h D o r s e t buttons a n d b u t t o n h o l e s . T h i s g a r m e n t was n o t o r i g i n a l l y ' a pair o f j u m p s ' , but a pair o f ' h a l f - b o n e d stays'. T h e bones have b e e n r e m o v e d but the b a c k o f this corset w o u l d n o t lace up c o m f o r t a b l y unless the bones were present, so they were p r o b a b l y r e m o v e d after the g a r m e n t was no l o n g e r w o r n . T h i s is a beautifully shaped g a r m e n t , delicately but strongly stitched a n d in a dehghtful shade of p i n k . It is a pattern I have made up w i t h the o r i g i n a l centre-front l a c i n g rather than the b u t t o n closure a n d w i t h a c o n v e n t i o n a l s h o u l d e r strap l a c i n g c l o s e d at the front. T h e corset is l o n g e r i n the b o d y than i t appears.

Opposite: This 1798 corset features an alteration in the front. It adds inches to the garment and the careful fastening at the front w o u l d allow access for a baby to feed. This corset is held at Colchester and Ipswich Museum, U K .

Patterns 31

32 Patterns

Patterns 33

R u r a l Corded Corset, 1830-40

M a d e i n b u f f c o t t o n t w i l l , w i t h a centre-front w h a l e - b o n e busk a n d straps over the shoulders, this corset has taped bones at the b a c k a n d is c o r d e d . T h e c o r d i n g appears to have b e e n d o n e w i t h different types of "stuff" as the ends, still visible on the inside of the g a r m e n t , are of different c o l o u r s and types o f i n f i l l i n g . T h e l i n i n g of this corset is interesting as it is m a d e of p i e c e d w h i t e l i n e n w i t h an occasional red l i n e t h r o u g h a n d , despite the p i e c i n g , a t t e n t i o n is g i v e n to the straight of the g r a i n . T h e patterns o f the c o r d i n g seem v e r y s i m p l e but w h e n the corset i s w o r n , the c o r d i n g lines are effective - the vertical lines s u p p o r t the grain a n d behave as b o n i n g a n d the cross-grain c o r d i n g lines over hips and radiates up to the shoulders on the b a c k panels, gently c u r v i n g a n d g i v i n g a softer shape s i m p l e but effective. T h i s corset is a robust, practical g a r m e n t , c o n s t r u c t e d w i t h an u n d e r s t a n d i n g of w h e r e it n e e d e d to be strong but also an awareness of the wearer's needs to feel g o o d a b o u t her shape a n d attractiveness. A n o t h e r i n t r i g u i n g feature o f this corset i s the different type o f c o r d i n g patterns for the bust areas; it is slightly m o r e ' p a d d e d ' on the left b o s o m , and there is a t u c k in the actual g a r m e n t creating fullness h e l d by the stay-tape e d g i n g .

O p p o s i t e : This corset, from the 1830s, is held in the Symington Collection at Leicestershire C o u n t y C o u n c i l M u s e u m . C o r d i n g turns out to be evident to a greater extent on the corsets from 1830-1920 than I realized before collating these patterns.

Patterns 35

36 Patterns

Patterns 37

Corded Taffeta Corset, 1840

T h i s beautiful h a n d - s t i t c h e d corset has reasonably c r u d e alterations at the centre front, w h i c h opens by means of alternating buttons a n d b u t t o n h o l e s . T h e buttons are l i n e n p u l l e d over w h a t feels l i k e a metal r i n g a n d , a l t h o u g h the alteration is c o n s t r u c t e d w i t h c r u d e r stitches than the rest of the corset, the fabric seems to be the same. O n e w o n d e r s w h e t h e r fabric was s u p p l i e d w i t h the corset for w h e n the wearer w a n t e d to make adjustments. T h e corset represents a m i x t u r e of styles. It is possible that it c o u l d be as early as 1820, except the centre-back metal eyelets date from after 1828. T h e steels are c r u d e l y h a n d stitched i n , i n d i c a t i n g that they are a later a m e n d m e n t (the m e t a l eyelets c o u l d have b e e n inserted over earlier h a n d - w o r k e d ones). M o s t o f the corset i s cut o n the cross-grain o f the fabric; i t i s made o f w h i t e silk taffeta a n d has a fine w h i t e l i n e n l i n i n g . T h r o u g h the n a r r o w b i n d i n g over the bust runs a thread, as a d r a w s t r i n g to a l l o w that area to be t i g h t e n e d or l o o s e n e d .

Opposite: This corset is in the private collection o f V i n a Cooke, w h o owns the Museum o f DQUS and Bygone C h i l d h o o d at Newark in Nottinghamshire.

Patterns 39

Red-and-Black Lasting Corset, 1860

T h i s closed-front corset o f red ( n o w faded t o orange) a n d black c o t t o n lasting is stiffened d o w n the centre front w i t h a w o o d e n busk. T h e busk is w r a p p e d in w o o l or wash leather a n d the corset is c o m p l e t e l y c o r d e d except for the steel o r w h a l e b o n e o n either side o f the eyelets. C o r d i n g gave a measure of suppleness to a corset w h i l e stiU c o n f o r m i n g to the desired r i g i d i t y o f figure c o n t r o l . A l t h o u g h the channels for the c o r d i n g are m a c h i n e stitched, it is not m a c h i n e c o r d i n g , as the i n f i l l of w o o l or t w i n e w o u l d have b e e n p u l l e d t h r o u g h w i t h a l o n g , strong needle. Corsets o f this type were closed b y l a c i n g d o w n the centre back a n d any m i n o r changes to the fit c o u l d be a c h i e v e d by adjusting the laces. It was impossible for s u c h a corset to be put on by the wearer w i t h o u t help f r o m either a m e m b e r of their f a m i l y or a h o u s e h o l d servant. At the centre back the eyelets c o m p l e t e l y m a t c h and there is no displacement. O n the side back seam the c o r d i n g disappears, suggesting an alteration to fit the corset m o r e closely before it was finished, since it does n o t l o o k as if it has b e e n altered afterwards. T h i s suggests that the p e r s o n was measured a n d fitted, or the corset was part p r o d u c e d to a standard size a n d t h e n fitted a n d finished.

Opposite: This 1860 corset is from the Symington Collection at Leicestershire C o u n t y C o u n c i l Museum, although Phillip Warren, curator of the Symington C o l l e c t i o n , does not think that this corset was made by Symington. T h e Symington C o l l e c t i o n includes many corsets or half corsets from other sources, presumably acquired to learn from their competitors.

Patterns 43

Patterns 45

Child's R e d Stay Band, 1 880-85

N o w faded to orange, this s i m p l e design is made in red sateen a n d c o r d e d for a d d i t i o n a l support. T h e b a n d is c o n s t r u c t e d w i t h three layers of fabric: sateen, hessian and a g l a z e d - l i n e n l i n i n g . T h e t w o front panels and the back panel have 24 rows of m a c h i n e c o r d i n g , stitched in cream thread, 6 stitches to 1 in (2.5cm). T h e r i g h t side-back seam b e t w e e n the side panel and the back panel has an o p e n i n g in it to pass the fastening tab t h r o u g h . T h e fastening tabs have a h o o k and an eyelet on one, and three eyelets on the other. A l t h o u g h this g a r m e n t has never been w o r n the h o o k has b r o k e n off, but a r i b b o n c o u l d have been passed t h r o u g h the eyelets to fasten it. It has t w o s h o u l d e r straps of 1/2in (1.25cm) India straight tape. It may be an u n c o m f o r t a b l e , restrictive g a r m e n t to o u r eyes, but it is actually very light and pliable. Stay bands d e v e l o p e d from the tight b i n d i n g o f s w a d d l i n g , k n o w n t o b e practised i n E u r o p e from c . l 3 t h century, w h i c h was t h o u g h t necessary t o prevent deformity. B y the early 1800s s w a d d l i n g was d y i n g out as a practice in the U K , but a less restrictive stay b a n d r e m a i n e d in use u n t i l the 1 9 3 0 s . T h i s is an e x a m p l e from the 1880s. In 1873 m a c h i n e - c o r d e d , m a c h i n e - m a d e stay bands were m a r k e t e d by S y m i n g t o n ' s at 4 i n ( l 0 c m ) deep for a n e w b o r n a n d 10in (25.5cm) for the o l d e r c h i l d . A t that t i m e girls o f eight years o l d were usually i n their first corset. In 1908 the ' l i b e r t y b o d i c e ' became available and from then on the market for stay bands decreased. L i b e r t y bodices were w o r n by boys and girls u n t i l the practice finally d i e d out in the 1970s. T h e stay bands were t h o u g h t to encourage an u p r i g h t posture and help develop a strong spine. At the t i m e they were w o r n there was no central heating - k e e p i n g a c h i l d w a r m was a p r i o r i t y , w h i c h c o u l d be w h y this one is red, as red was p e r c e i v e d as a w a r m c o l o u r .

Opposite: Stay band from the 1880s, held in the Symington Collection at Leicestershire C o u n t y C o u n c i l Museum, U K .

Patterns 47

48 Patterns

G o l d Exotic Corset, 885

In the S y m i n g t o n C o l l e c t i o n are a n u m b e r of corsets and h a l f corsets, partially u n p i c k e d . N o n e o f t h t m appear t o b e o f S y m i n g t o n s manufacture, so presumably S y m i n g t o n ' s were u n d e r t a k i n g market research and k e e p i n g abreast o f any n e w m e t h o d s o f c o n s t r u c t i o n , n e w materials, finishes or styles. O n l y h a l f remains of this corset, as presumably the lost h a l f was taken apart for research purposes. It has steel bones either side of its metal eyelets for l a c i n g closed at the b a c k , a n d a s p o o n busk at the front for closure; there are o n l y 18 t h i n canes to give the g a r m e n t its shape, a n d the corset obtains its f o r m f r o m the flowing panels that m a k e up the corset rather than b o n i n g . T h e attractive 'belt' area of this corset takes a flattering l i n e , flowing a r o u n d the 2 ( ) - 2 3 i n ( 5 0 - 5 8 . 5 c m ) waist, and it is decorated by h a v i n g metal eyelets p u n c h e d t h r o u g h all the layers of the waist section at top and b o t t o m . T h e R a t i o n a l Dress S o c i e t y was f o u n d e d 1881 i n L o n d o n and d r e w attention to h o w restrictive corsetry c o u l d be; it was t h o u g h t by the society that corsets c o u l d be d a m a g i n g to w o m e n ' s health and restricted their lifestyles. W o m e n were t a k i n g m o r e part i n w o r k i n g life b y 1885, and t a k i n g part in some sports. T h i s meant that w o m e n began to want corsets that a l l o w e d for these pursuits. T h i s corset, w h i l e r e d u c i n g the waist to 2 0 i n ( 5 0 c m ) , was also aerating it via the eyelets, w h i c h are also a decorative feature. 1 have described this corset as ' E x o t i c ' as there is a subtle g o l d sheen to the fabrics used, e n h a n c e d by the small, g o l d eyelets.

Opposite: 1885 corset from the Symington Collection held by Leicestershire M u s e u m Services.

Patterns 51

FRONT (A)

FRONT (U)

FRONT (O)

FRONT (D)

l^attcrns

Swiss R i d i n g Corset, 1890

T h i s corset is made of o n e layer of sprigged j a c q u a r d silk. It has a centre-front split-busk fastening, a n d l a c i n g at the centre back supported each side w i t h t w o bones. T h e t w o centre-back bones are of flat steel and unusually the eyelets are on the edge of the garment, w h i c h w o u l d m e a n i f they were p l a c e d u n d e r t o o m u c h stress they w o u l d b e i n danger o f p u l l i n g out o r r i p p i n g . T h e label inside suggests that it is a C o n t i n e n t a l corset - it reads: B. Wassonberger-Alti. Corseitiere-Montreaux T h e eyelets a n d bones are all b a c k e d or faced w i t h fine-cotton t w i l l tape o f v a r y i n g w i d t h s : 1 a n d 1 / 2 i n (4cm) o n the centre back a n d 5 / 8 i n (1.5cm) for the seam b o n i n g channels. T h e s t i t c h i n g for the channels is 3/8 in (1cm) w i d e a n d the w h a l e bones fit l o o s e l y i n t o the channels. B o u n d w i t h o n l y India tape top a n d b o t t o m , the edges are then covered w i t h m a c h i n e - m a d e eyelet lace w i t h a 1/4in ( 6 m m ) pale blue r i b b o n passing t h r o u g h . T h e r e is a waistband stay tape on the inside of the garment. T h i s is a delicate corset that may possibly have b e e n used for r i d i n g but was m o r e l i k e l y for b o u d o i r use. T h i s corset qualifies as a r i d i n g corset because it is cut l o w u n d e r the bust and h i g h over the hips, and this style c o i n c i d e s w i t h w o m e n b e c o m i n g m o r e active and i n d u l g i n g i n various sports. T h i s attractive corset actually gives v e r y little support.

Opposite: T h i s silk j a c q u a r d r i d i n g corset f r o m 1890 is h e l d a t Hereford M u s e u m , U K . T h e photographs s h o w the front o f the corset (top) and the back o f the corset ( b o t t o m ) .

56 Patterns

Patterns 57

'Pretty Housemaid' Corset, 1890

T h i s corset has a s p o o n split-busk centre fastening. It is made of drab t w i l l l i n e d w i t h fawn c o u t i l a n d i n t e r l i n e d w i t h hessian. T h i s was a S y m i n g t o n speciality corset advertised as the 'strongest, cheapest corset ever m a d e ' . W i t h m a c h i n e c o r d i n g across the hips a n d d o w n the panels, there is m i n i m a l w h a l e b o n i n g (see pattern). An interesting feature of this corset is the busk p r o t e c t o r a strong w i d e covered steel 4and1/2in (11.5cm) in l e n g t h , stitched to the underside of the busk for support and to offset the b r e a k i n g of the busk across the waist area w i t h 'constant s t o o p i n g ' . T h e corset i s f i n i s h e d w i t h decorative m a c h i n e f l o s s i n g i n b l u e and g o l d thread, w h i c h serves no practical purpose. T h i s corset was a top seller of its day. T h e c o m p a n y was alert to the needs a n d desires of its market. T h e y p r o d u c e d this affordable, attractive, w e l l - d e s i g n e d a n d guaranteed corset for i n d i v i d u a l s w h o may have o n l y had tiny amounts o f disposable i n c o m e , but the n u m b e r s o f housemaids made the p r o d u c t i o n w o r t h w h i l e . I n 1850 there were o n e m i l l i o n servants i n B r i t a i n , the second-largest o c c u p a t i o n after a g r i c u l t u r e . In 1901 the B r i t i s h social r e f o r m e r B e n j a m i n S e e b o h m R o w n t r e e suggested that the k e e p i n g o f servants m a r k e d the d i v i d e b e t w e e n the w o r k i n g class a n d the m i d d l e class. E v e r y b o d y w a n t e d a h o u s e m a i d , a n d every h o u s e m a i d in t u r n wanted a S y m i n g t o n 'Pretty H o u s e m a i d ' .

Opposite: 1890 corset from the Symington Collection at Leicestershire County C o u n c i l Museum, U K . B y 1890 Symington's had realized the value of producing an attractive garment fit for purpose. This corset was sold in vast numbers over many years to ordinary women w h o had to work hard when wearing their corsets.

Patterns 59

60 Patterns

Patterns 61

62 Patterns

K h a k i C o r d e d Corset, 1890-1900
W i t h k h a k i - c o l o u r e d lasting as the o u t e r fabric and a beige silica l i n i n g , this corset uses c o r d i n g as an attractive feature over the hips a n d in the bust gussets. It is s i m i l a r to a m u c h h i g h e r - q u a l i t y corset p r o d u c e d by S y m i n g t o n s (see page 2), w h i c h has an attractive c o m b i n a t i o n of machine cording and quilting. T h i s is a small corset - bust 3 0 i n ( 7 6 c m ) , waist 21 in (53cm) and hips 3 2 i n (81cm) - a n d o n e w o u l d i m a g i n e that this corset was w o r n because c o n v e n t i o n dictated that a corset s h o u l d be w o r n , n o t for reasons of c o n t r o l . It is possible that the c o r d i n g acted as a layer of p a d d i n g to enhance a slight figure. H a n d flossing has been added to strengthen the apex of the gusset in a l i g h t - c o l o u r e d thread a n d c r e a m c o t t o n m a c h i n e - m a d e lace has b e e n attached over the top edge. T h e r e is a v e r y w i d e a n d s o l i d split-busk fastening almost 1in (2.5cm) w i d e each side, s u p p o r t e d by a d o u b l e busk of 1/2in (3.8cm) w i d e . T h e w o o d e n o r steel busk f i t s the p o c k e t loosely. T h e strength o f the fastening seems o u t of p r o p o r t i o n to the scale of the corset w i t h its 2 1 i n (53cm) waist.

Patterns 63

Patterns 65

Large Blue Jean Corset, 1890-1910

T h i s corset i s made o f o n e layer o f blue j e a n fabric stitched w i t h pale p i n k thread. T h e r e is a pale p i n k h a n d - m a d e lace at the back to lace it closed. T h e centre-front panel, the c e n t r e - b a c k panel a n d the 'belt' are all l i n e d w i t h a m e d i u m - w e i g h t c a l i c o . T h e b o n i n g channels are also made o f the calico, cut o n the straight g r a i n 3 / 4 i n (1.9cm) w i d e w i t h 1 / 4 i n ( 6 m m ) turnings, t u r n e d i n over a strip o f cardboard and, w h e n executed, spiral steel b o n i n g inserted. T h e centre front has a metal split busk and b o t h sides of the centre back have flat steels either side of the metal eyelets n o n e o f w h i c h i s displaced. T h e top a n d b o t t o m edges o f this corset are b o u n d in5/8in(1.5cm) t w i l l c o t t o n tape. T h i s corset is u n w o r n a n d it has no maker's label inside, but it does not l o o k h o m e m a d e . It c a n n o t have b e e n expensive to p r o d u c e , w o u l d n o t have b e e n difficult to construct and has an almost u n i f o r m l o o k to it, but has finishing details p i c k e d out in p i n k , to make it m o r e attractive for the wearer. T h i s is a s o l i d , sensible, n o - n o n s e n s e corset, made in a h a r d - w e a r i n g yet c o m f o r t a b l e fabric, not really designed to create a waistline but m o r e to h o l d e v e r y t h i n g neatly together.

Opposite: This corset is part of the author's corset collection and is dated 1890-1910. It was bought from a Newark Antiques Fair in Nottingham in 2005.

Patterns 67

68 Patterns

Patterns 69

70 Patterns

Black-and-Yellow Flossed Corset, 1890-1900

M a d e i n black sateen w i t h y e l l o w e m b r o i d e r y , this corset features surface vertical b o n e channels, and h o r i z o n t a l c o r d i n g over the bust. T h e centre-front straight split-busk fastening is on a slight cross-grain of the fabric. T h e r e are bones to strengthen it, w h i c h are removable. S o m e corsets had an a d d i t i o n a l c o v e r e d steel b i u l t i n t o their c o n s t r u c t i o n , called a d o u b l e busk. T h i s indicates that the corsets d i d break and that w o m e n w i s h e d to e x t e n d their life or delay the possibility o f t h e m b r e a k i n g . T h e bones of this corset are encased in b o n i n g channels stitched on the surface of the corset, w h i c h were attractive and possibly m o r e c o m f o r t a b l e t o wear. T h e r e c o u l d b e strips o f cardboard i n these channels, as has been f o u n d in partially u n p i c k e d corsets. T h e b o n i n g appears to be flat steel.

Opposite: The Symingtons "Pretty Housemaid" Corset (see page 58) came w i t i i a double busk to cope with 'constant stooping', so very possibly this pretty corset, c . 1890 from St Fagans National History M u s e u m , was actually designed for a working woman rather than a lady.

Patterns 71

72 Patter

Patterns

74 Patterns

Black Corset w i t h Blue Flossing, 1890

T h i s stylish wasp-waisted corset features steel b o n i n g and is finely c o r d e d over the bust. M a d e in black sateen, it is a g l o r i o u s manufactured corset edged at top and b o t t o m w i t h black and pale blue c o t t o n m a c h i n e b r o d e r i e anglaise. T h e bust gussets have been cut from finely c o r d e d fabric and w h e n assembled the 3/8in (9nnn) w i d e b i n d i n g s are m a c h i n e d on the r i g h t side of the garment and c o n t i n u e over the bust gussets and then 1/4in (0,6cm) steel b o n e , passed t h r o u g h the b i n d i n g . T h e r e may be some fine card in the b i n d i n g as w e l l to keep it even, but as n o n e of this corset is u n d o n e it is not possible to tell (although similar corsets in the S y m i n g t o n C o l l e c t i o n , w h i c h were u n d o n e t o e x p l o r e their c o n s t r u c t i o n , d o have card present). T h e side-front and side-back panels are m a c h i n e c o r d e d and there are three bones either side of the centre back to support the metal eyelets. T h e side seams also have a b i n d i n g c a r r y i n g 1/4in ( 6 m m ) steel b o n e . T h e r e is pale b l u e h a n d - s t i t c h e d flossing. T h i s is a beautiful corset; it l o o k s delicate and dainty but is actually robust in its c o n s t r u c t i o n .

Patterns 75

76 Patterns

Patterns 77

78 Patterns

W h i t e R i b b o n Corset, 1900-10
T h i s corset i s c o n s t r u c t e d w i t h 2 i n (5cm) w i d e l i n e n r i b b o n , a n d p l a i n w h i t e l i n e n that encases flat steel bones on the side seams, centre front and centre back. It had suspenders at the front that have b e e n cut off. T h i s corset reflects the g r o w i n g n e e d o f w o m e n t o have m o r e f r e e d o m o f m o v e m e n t w h i l e still w a n t i n g t o constrict their waists. W o m e n from the 1880s onwards were t a k i n g part in s p o r t i n g activities such as croquet, tennis, r o l l e r - s k a t i n g , ice skating, b a d m i n t o n , g o l f and eventually c y c l i n g . T h e R a t i o n a l Dress S o c i e t y was f o r m e d in 1881 to raise w o m e n ' s awareness o f h o w their lives were i m p e d e d b y the b u r d e n o f fashionable silhouettes. F a s h i o n has never g o n e h a n d - i n - h a n d w i t h l o g i c and c o m m o n sense, but i n 1900 w o m e n were o n the verge o f e x p e r i e n c i n g a freedom o f m o v e m e n t that they had n o t enjoyed for nearly a h u n d r e d years.

Patterns 79

80 Patterns

Patterns 81

82 Patterns

Silk R i b b o n Corset, 1900-5

T h i s delicate r i b b o n corset is made from 2and1/4in (5.7cm) w i d e silk floral w o v e n r i b b o n - it uses at least 6 - 7 yards ( 5 . 5 - 6 . 5 m ) of r i b b o n , if n o t m o r e , w h e n m a t c h i n g the floral repeats is taken i n t o a c c o u n t . T h e corset has a straight metal split-busk closure at the centre front, encased in the silk r i b b o n , t u r n e d i n and h a n d stitched. T h e side panel and the centre-back panels are also extravagantly faced w i t h the r i b b o n . T h e centre back o f the corset has m e t a l - b a c k e d eyelets supported b y four rows o f bones o n each side. N o n e o f the eyelets were displaced and a fine w o v e n silk b r a i d w i t h metal aiguillettes at its ends was used to cross-lace the corset. T h e side panel houses tour rows ot w h a l e b o n i n g and there may possibly b e another layer o f fabric s a n d w i c h e d i n a s w e l l . T h e r i b b o n e d back a n d front sections of this corset have a b o n i n g c h a n n e l of 3/8in (0.9cm) w i d e r i b b o n stitched t h r o u g h the w r a p p e d layers of the corset, a n d a n a r r o w 1/4in (0.6cm) w h a l e b o n e travelling t h r o u g h each c h a n n e l . A very prettily tied b o w is h a n d stitched to the top of the split busk. O n b o t h o f the side panels a t the h i p edge are l i n (2.5cm) w i d e l i n e n buttons attached to the corset w i t h a b u t t o n - h o l e stitched l o o p .

Left: A pretty 1900-05 corset, from the Fashion Museum, Bath.

Patterns 83

84 Patterns

L o n g W h i t e Corset, 1914
M a d e from w h i t e m e r c e r i z e d c o t t o n w i t h a f i n e silk b o w ( n o w deteriorating) at the apex of the straight metal split busk at the centre front, this corset has metal bones t h r o u g h o u t and laces up at the back w i t h cross-lacing, s u p p o r t e d b y four bones either side o f the centre back. T h e side panels have a r i g i d set of six 1/4in (0.6cm) bones. T h e c o t t o n used for the h i p area is an even weave a n d durable, and suggests s u m m e r w e a r . T h e r e is a 2 i n (5cm) w i d e strongly w o v e n c o t t o n r i b b o n w i t h a pretty g e o m e t r i c a l and alternating flower pattern that forms the l o w bust c o n t r o l , suppressing the figure gently to achieve the softly flowing lines that were desirable in 1914. T h e r i b b o n is folded in h a l f to cover the split busk, and the holes for the ' l o o p s ' are cut t h r o u g h and n o t finished in any way. At the centre back the 2 i n (5cm) w i d e r i b b o n i s faced w i t h t w i l l r i b b o n o r fabric - there is a possibility that t w i l l is also present, h i d d e n u n d e r n e a t h the r i b b o n at the centre front. T h e top edge of this corset is closely m a c h i n e o v e r - l o c k e d , and the l o w e r edge is b o u n d w i t h t w i l l straight tape. T h e suspenders are from the side panels and either side of the centre-front fastening, presumably to help its d y n a m i c s , the suspenders p r e v e n t i n g the corset r i d i n g up w i t h wear.

Opposite: This 1914 corset is from the Symington Collection at Leicestershire C o u n t y C o u n c i l Museum, U K .

Patterns 87

German Ersatz Austerity Corset, 1917

A c u t e w a r t i m e shortages i n G e r m a n y f o r c e d the d e v e l o p m e n t o f this ersatz fabric. M a d e f r o m canvas weave, paper t w i n e was processed for r i g i d i t y and strength. In 1916 ersatz (substitute) materials were made available for the p u r c h a s i n g p u b l i c in G e r m a n y , a necessity since as a c o u n t r y i t h a d always i m p o r t e d large a m o u n t s o f w o o l a n d c o t t o n ; they even created a paper-based thread. M a k e do and m e n d was advocated and the pleasing B a r n u m t r i m m i n g o n this o t h e r w i s e v e r y austere corset was p r o b a b l y a result of that. T h e r e is a p r i n t e d m a r k inside the busk but it is not decipherable. T h e corset fastens at the front w i t h a straight metal split busk, a n d at the b a c k it has metal eyelets s u p p o r t e d by t w o 1/2in (1.25cm) bones either side. T h e rest of the b o n i n g encased in the corset seams is flat steel. T h e top edge o f the corset i s t r i m m e d w i t h b a r m a n e d g i n g and the b o t t o m edge w i t h 5/8in (1.6cm) straight t w i l l tape. It has no suspenders. D u r i n g W o r l d W a r I G e r m a n w o m e n were e n c o u r a g e d t o b e nationalistically m i n d e d c o n s u m e r s and n o t to purchase foreign goods, particularly F r e n c h goods. Indeed, corsets f r o m Paris were d e s c r i b e d as ' u n - G e r m a n a n d dangerous'; they also suggested that F r e n c h corsetry made G e r m a n w o m e n sick. I t was t h o u g h t u n p a t r i o t i c t o b e t h i n k i n g o f F r e n c h fashion w h e n o n e c o u l d b e a i d i n g the cause o f the war. Substitute a n d synthetic materials were p r o d u c e d i n G e r m a n y t o alleviate the shortages o f textiles d u r i n g W o r l d W a r I b u t they c o n t i n u e d t o m a k e these afterwards, especially in the late 1930s w h e n G e r m a n y was again p r e p a r i n g for war. It is interesting to c o n s i d e r that even d u r i n g times o f i m m e n s e hardship i t was still i m p o r t a n t t o p r o d u c e a n d wear corsets.

Opposite: This 1917 corset is held in the Symington Collection at Leicestershire C o u n t y C o u n c i l Museum, U K .

Patterns 91

94 I'atterns

Dolls' Corsets
T h e s e doll's corsets (pages 9 4 - 1 0 1 ) are in the c o l l e c t i o n of H e r e f o r d M u s e u m Services and I c o u l d n o t resist i n c l u d i n g them. They l o o k deceptively easy t o achieve. T h i s w h i t e 1 9 t h - c e n t u r y e x a m p l e w o u l d have taught a y o u n g g i r l h o w to create a corset: assembling it in the r i g h t order, i n s e r t i n g the gussets a n d h a n d s e w i n g the eyelets. It is p r o b a b l y based o n the type o f corset w o r n i n 182040. T h e r e is t h o u g h t to be a l i n k b e t w e e n the w i t h and h o w this affects their p e r c e p t i o n i n society. T h e dolls o f 180050 resembled t h e m ; b y 1850 the j u v e n i l e dolls h a d b e e n dolls, w h i c h were shapely and corseted. type of dolls that girls play o f themselves and their role the girls w h o played w i t h replaced b y 'fashion-plate'

T h e s e 'fashion-plate d o l l s ' were i n f l u e n t i a l i n h e l p i n g the y o u n g girls o f the t i m e formulate their appearance and b e h a v i o u r i n the future, a n interesting t h o u g h t w h e n w e c o n s i d e r h o w p o p u l a r B a r b i e has been over recent decades.

Opposite and left: This doll's corset is held in the collection of Hereford M u s e u m Services and could have been used to teach a young girl how to make a corset. These photographs show the front of the corset (opposite) and the back (left).

Patterns 95

96 Patterns

Patterns 97

Dolls' Corsets (continued)

T h i s blue silk doll's corset, f r o m the late 19th century, is a corset in m i n i a t u r e ; by d o u b l i n g the measurements it c o u l d fit a w o m a n . Because the metal eyelets are on the edge of the garment, because it measures in centimetres, a n d the busk fastenings are evenly spaced, it is almost c e r t a i n l y not f r o m the U K . T h i s i s a precise, elegant little i t e m , made by s o m e o n e used to p r o d u c i n g corsets.

O p p o s i t e : This doll's corset, held in the collection of Hereford M u s e u m Services, shown closed (top) and opened out (bottom).

Patterns 99

100 Patterns

102 Projects

Project: W h i t e L i n e n Jumps, c.1790

D e s c r i b e d as w h i t e l i n e n j u m p s d a t i n g from the m i d to late 18th century, this g a r m e n t has a d e l i g h t f u l shape. J u m p s were a less-fitted garment, usually boneless, and they fastened at the front. A r i s t o c r a t i c ladies were k n o w n to w e a r j u m p s ' for casual dress and d u r i n g pregnancy. T h i s is a n i c e l y made garment, a n d appears to be c o m f o r t a b l e to wear. W h e r e the s h o u l d e r strap is attached to the back p a n e l there is a m a c h i n e - s t i t c h e d alteration. A f t e r the seams w e r e stitched, the layers of this g a r m e n t were l a i d together and the edges t u r n e d in and felled, then the edges were p i n stitched or stabbed t h r o u g h to secure the edge, w i t h rows o f stab s t i t c h i n g 1 / 4 i n ( 6 m m ) either side o f each seam. T h e b o n i n g channels are stitched t h r o u g h all of the layers. T h e b o n i n g channels on the centre b a c k are o p e n at the top, possibly so the bones c o u l d be r e m o v e d for w a s h i n g the garment, or for c o m f o r t . T h e b o n i n g channels are quite w i d e , suggesting the bones used c o u l d be steels, w h i c h w o u l d n e e d to be r e m o v e d to prevent rust marks. Eyelets at the centre front are slightly displaced as o n e lace w o u l d have been used to close this g a r m e n t . D a r n i n g has taken place at the l o w e r edge of the centre front; the l i n e n was p r o b a b l y u n d e r t o o m u c h strain at this p o i n t .

Opposite: This c. 1790 corset (jumps) is held at Hereford M u s e u m , U K .

Projects 103

Constructing a hand-stitched corset, W h i t e L i n e n Jumps, c.1790

A l m o s t every o n e o f the corsets i n this b o o k has b e e n c o n s t r u c t e d b y a different m e t h o d . Instructions are g i v e n here for the c.1790 H e r e f o r d w h i t e corset, w h i c h appears to be an outer layer of c o t t o n a n d a l i n i n g o f w h i t e l i n e n ; the corset was i n g o o d c o n d i t i o n , but there were n o bones in or w i t h the garment. T h e r e was a h a n d - d a r n e d repair on the front panels of the corset. W h e n corsets are in a p o o r state of repair a l o t can be learnt, as we can see inside t h e m . T h i s corset, apart f r o m the darns, was intact, so s o m e of the processes have b e e n p r e s u m e d based on past e x p e r i e n c e a n d observation. 1. C u t out the corset back, o n e side, o n e front a n d o n e strap, a d d i n g seam allowances all r o u n d - 5/8in (1.5cm) is sufficient. A d d balance marks as i n d i c a t e d on the pattern pieces. F l i p over the last three pieces and cut o u t a s e c o n d side, front and strap, again a d d i n g seam allowances a n d balance marks. Y o u n o w have seven pieces. J o i n the side pieces t o the back side piece to the c o r r e s p o n d i n g the straps to the back, r e f e r r i n g p l a c e m e n t (see page 115). Press allowances at the corners. a t the S B seam. N o w j o i n each front piece at the SF seam. A t t a c h to the d o u b l e balance marks for the seams o p e n a n d t r i m the seam

2.

3. 4. 5.

R e p e a t steps 1 and 2 to cut and j o i n the l i n i n g pieces. T r i m the seam allowances o n the l i n i n g t o 1 / 4 i n ( 6 m m ) . L a y out the m a i n corset, r i g h t side up. L a y the l i n i n g r i g h t side d o w n on top, a l i g n i n g the edges, a n d p i n and tack (baste) in place. B a c k s t i t c h a r o u n d the corset, t a k i n g a 5/8 in (1.5cm) seam allowance, a n d l e a v i n g b o t h C F edges o p e n s o that y o u can insert the front b o n i n g later. T u r n the corset o u t t h r o u g h o n e of the o p e n front edges. U s e a k n i t t i n g needle or similar t o o l to push o u t the c o r n e r s of the corset, p a y i n g particular attention to the tabs a l o n g the b o t t o m edge. W o r k r o u n d the edges o f the corset, r o l l i n g the fabric b e t w e e n y o u r fingers to make sure that the edge is c o m p l e t e l y t u r n e d out. T a c k a l o n g the gutters (seams) of the corset to align the fabric a n d l i n i n g seams. Secure the layers a r o u n d the edges w i t h stab stitch, l e a v i n g the t w o C F edges o p e n for the present.

6.

7. 8.

9.

106 Projects

10.

N o w w o r k a l o n g the S B , S F a n d s h o u l d e r seams, stab s t i t c h i n g o n each side o f the seams. R e m o v e the t a c k i n g stitches.

1 1 . T a c k (baste) w h e r e the b o n i n g channels w i l l go o n all panels, w i t h o u t t a c k i n g o n the actual channels t o a v o i d g e t t i n g t a c k i n g thread caught in the m a i n stitches. 12. B a c k s t i t c h the b o n i n g channels, adjusting the w i d t h to suit the b o n i n g y o u i n t e n d t o use. ( T h e r e was n o b o n i n g i n this corset. T h e channels were left o p e n , w h i c h m a y b e because the bones n e e d e d to be r e m o v e d for w a s h i n g to a v o i d creating rust marks.) * 13. S t i t c h the t w o rows o f b a c k s t i t c h o n either side o f the eyelets a t the C F o n each front piece. U s e a stiletto to create the eyelets at the CF a n d w o r k each o n e w i t h w h i p s t i t c h (see page 117). M a k e the eyelets for the front s h o u l d e r fastening too. Insert the bones a t the C F o n each front piece, t u r n i n the seam allowances and w h i p s t i t c h or backstitch the fabric to the l i n i n g . A d d stab s t i t c h i n g a l o n g these edges for consistency. Insert the r e m a i n i n g bones.

14.

15.

16. A d d the c o r d t o lace the corset. T h i s w o u l d have most l i k e l y have b e e n a single lace (see page 115). * The 'boning' channel on the bias of the front panel is a puzzle because there is no obvious entry point, although there is heavy darning at the lower edge of the channel, where the bones could have been slipped out and the darning done. Alternatively, the boning could have been added before the shoulder seam was stitched and the eyelets worked. Of course, the channel may never have held boning it could have been used simply to hold the layers together. I am going to presume that no boning was ever inserted. T h i s was a s i m p l e g a r m e n t , q u i c k l y made. Was it w o r n to nurse a baby? Was it all that the lady w o r e as a corset? O r , was it a 'corset' for the hottest days o f s u m m e r ?

108 Projects

Project: Girl's W h i t e Jean Corset, 1900

T h i s i s a w h i t e j e a n corset w i t h w h i t e f l o s s i n g a n d w h i t e m a c h i n e stitching, w i t h bust gussets, c o r d i n g a n d a s p l i t - m e t a l busk fastening at the centre front. F o u r steel bones at the centre b a c k support metal eyelets for cross-lacing. T h e bust gussets are on the bias of the fabric and the corset is b o u n d top and b o t t o m w i t h a straight c o t t o n t w i l l tape. T h i s corset had never been w o r n . O r i g i n a l l y I p r e s u m e d that this was a traveller's sample, u s i n g their shortest split-busk fastening. As it was a s i m p l e g a r m e n t that i n c l u d e d a variety of corsetry techniques, 1 t h o u g h t this w o u l d be a g o o d corset for my students to reconstruct to try out the techniques n e e d e d to construct a post-1850s corset. I r e c o n s t r u c t e d it, my n i n e - y e a r - o l d daughter t r i e d it on and it fitted her she f o u n d it c o m f o r t a b l e and i t refined her n o n - e x i s t e n t f i g u r e , g i v i n g i t d e f i n i t i o n . G i v e n that m y daughter p r o b a b l y has the b u i l d of a 1 2 - 1 4 - y e a r - o l d g i r l in the 19th century, we d e c i d e d that it was m o r e l i k e l y a y o u n g w o m a n ' s corset rather than a traveller's sample. At that t i m e girls were corseted from about eight years o l d , and w h i l e we c a n n o t agree w i t h this practice, it was then t h o u g h t to be r i g h t a n d proper, even necessary.

O p p o s i t e : This 1900 corset is held in the collection at Colchester and Ipswich M u s e u m .

Projects 109

Constructing a machine-stitched corset, Girl's W h i t e Jean Corset, c.1900

E a c h corset in this b o o k is made up by different m e t h o d s a n d I have d e c i d e d to i n c l u d e step-by-step instructions for this one, as this corset is q u i c k and straightforward to construct, i n c o r p o r a t i n g nearly all the techniques used i n the m a c h i n e c o n s t r u c t i o n o f corsets i n their simplest f o r m . 1. C u t o u t the o u t e r a n d l i n i n g fabrics, r e m e m b e r i n g to add seam allowances - usually 1/2in (1.3cm) is e n o u g h , w i t h 3/4in (2cm) on the side seams (see step 1 0 ) . Y o u w i l l n e e d to cut each piece o n c e , then flip the patterns a n d cut the pieces again. Transfer the balance marks and m a r k the pattern on the r i g h t side of the l i n i n g for guidance, u s i n g a n H B p e n c i l v e r y gently. 2. Slash all the gusset darts on the front panels of the o u t e r fabric and the l i n i n g . T u r n u n d e r the edges of the gusset darts and then lay these over the gusset pieces; topstitch the gussets in place on the v e r y edge of the r i g h t side of b o t h sections (see page 118). L a y o u t the left front, r i g h t side up, a n d place the l i n i n g r i g h t side d o w n o n top w i t h edges m a t c h i n g . P i n a n d t h e n stitch the C F seam. T r i m the edges o f the seam allowances t o X i n ( 6 m m ) . P o s i t i o n the stud side of the split busk b e h i n d the o u t e r fabric a n d w o r k o u t w h e r e the studs w i l l go, then use a stiletto to piece the holes (see page 122). Insert the stud side of the split busk. W i t h the busk s a n d w i c h e d b e t w e e n the l i n i n g a n d o u t e r fabric, use a z i p (zipper) foot on y o u r s e w i n g m a c h i n e to stitch alongside the busk, s e c u r i n g it in place. L a y o u t the r i g h t front, r i g h t side up, and place the l i n i n g r i g h t side d o w n o n top w i t h edges m a t c h i n g . Lay the l o o p side o f the busk o n top a n d m a r k w h e r e the loops fall a l o n g the C F seam. R e m o v e the busk and stitch the seam, l e a v i n g gaps for the busk loops. T u r n the pieces r i g h t side out and insert the busk. Secure the busk w i t h a l i n e of s t i t c h i n g in the same way as before. L a y o u t each back piece, r i g h t side up, a n d place the l i n i n g r i g h t side d o w n o n top w i t h edges m a t c h i n g . J o i n each back piece t o its l i n i n g a l o n g the C B s e a m . T r i m the seam allowances t o 1 / 4 i n ( 6 m n i ) , t u r n the pieces r i g h t side o u t and press t h e m .

3.

4.

5.

112 Projects

6.

P i n or tack (baste) each panel to its l i n i n g w i t h r i g h t sides o u t a n d edges m a t c h i n g to h o l d the layers together. O n each back p a n e l m a c h i n e three rows o f s t i t c h i n g t o f o r m the b o n i n g channels, adjusting the w i d t h to suit the b o n i n g y o u i n t e n d to use. Insert the b o n i n g . M a k e the eyelets as e x p l a i n e d on page 117. M a c h i n e stitch the lines for the c o r d i n g on the front and back panels.

7.

8. 9.

10.

U s i n g a mattress needle or o t h e r l o n g , sturdy needle, thread q u i l t i n g w o o l o r h e m p t h r o u g h the channels. W h e r e the c o r d i n g channels intersect on the back panels, push the needle t h r o u g h the l i n i n g fabric and cut o f f the excess w o o l . L a y the panels together in pairs w i t h the outer fabrics facing, m a t c h i n g the side seams. S t i t c h the side seams. To neaten the seam allowances on the lining side, leave the t o p layerof lining as it is b u t t r i m away all the o t h e r layers of the seam a l l o w a n c e to 1/2 in (1.3cm); t u c k the w i d e r l i n i n g layer over the others a n d stitch d o w n a l o n g the folded edge. F r o m the r i g h t side of the corset this seam l o o k s l i k e a b o n i n g c h a n n e l , but it isn't. C h e c k that the centre front a n d centre back of this corset are l e v e l w i t h each o t h e r a n d t h e n t r i m d o w n t o the actual f i n i s h e d level. U s e a 5/8 in (1.6cm) Petersham r i b b o n or a strong 1/2 in (1.3cm) t w i l l tape to b i n d the top and b o t t o m edges of the corset: starting on the inside of the corset, m a c h i n e the r i b b o n at the desired level, f o l d it over to the r i g h t side of the corset and m a c h i n e it again - this ensures that there is o n l y o n e r o w of m a c h i n i n g visible on the outside o f the corset.

11.

12.

13.

A d d the l a c i n g this corset w o u l d be laced w i t h a d o u b l e lace (see page 115).

Projects 113

Techniques
Accessing patterns
T h e scale of these patterns is 1/2:1in, e x c e p t the d o l l s ' patterns, w h i c h are full sized. A l l measurements are in inches these corsets w o r k particularly w e l l w i t h i m p e r i a l measurements. T h e patterns can be accessed by o b t a i n i n g 1in squared graph paper and p l o t t i n g the patterns o u t , or it m a y be possible to enlarge t h e m on a photocopier. T h e patterns have n o seam allowances i n c l u d e d , as seam allowances w i l l d e p e n d on the maker's requirements, so some t h o u g h t s h o u l d be g i v e n to this before c u t t i n g out. On page 122 instructions are g i v e n for i n s e r t i n g a split-busk fastening i n t o a l i n e d corset; the m a k e r may be m o u n t i n g the o u t e r fabric on c o u t i l then m a k i n g u p the corset a s i f i t o n l y had o n e layer, i n w h i c h case e x t e n d the C F a n d C B b y 2 a n d 1 / 2 i n ( 6 3 m m ) , i n c o r p o r a t i n g the f a c i n g i n t o the b o d y o f the garment. To learn as m u c h as possible f r o m these patterns: 1 First p l o t a pattern. 2 A d d on the seam allowances. 3 C u t it out of a f i r m f e l t / c a l i c o a n d seam it up u s i n g a l o n g m a c h i n e stitch and m a t c h i n g balance points. 4 A t t a c h some fake l a c i n g * a n d any bones that seem c r u c i a l to the shape. *Fare lacing: two 15in (38cm) strips, each comprising eyelets supported by boning, which can be machined into a corset or toile for fitting. N e x t f i n d s o m e o n e w h o f i t s this corset. O b s e r v e h o w i t restricts her m o v e m e n t , w h a t it does to her bust and t h i n k about the g o w n that w i l l b e w o r n over it. T h e n consider h o w the f i g u r e o f the person w h o w i l l wear it differs f r o m the p e r s o n it actually fits. V e r y little a d v i c e can be g i v e n in a b o o k about h o w to deal w i t h this last step. L o o k at pictures of the p e r i o d and d e c i d e w h e r e it is most appropriate to e x t e n d or add in a panel. Points y o u must address are: D o e s the waist sit w h e r e it s h o u l d for the p e r i o d ? Is the n e c k l i n e correct for the p e r i o d ? D o e s the corset c o n t a i n the bust, so w h e n g o w n e d a c o r r e c t silhouette for the p e r i o d w i l l be achieved?

114 Techniques

Balance marks
B a l a n c e marks are a g u i d e to w h e r e seams s h o u l d m a t c h ; they are w o r t h m a r k i n g o n the pattern a n d then the fabric. W h e n the pattern has been p l o t t e d it is also useful to m a r k the ' t o p ' of each pattern and n u m b e r each pattern sequentially, as it is all t o o easy to get the panels i n the w r o n g o r d e r o r even upside d o w n .

Grain
M o s t patterns are d r a w n w i t h the vertical lines o f the graph paper e c h o i n g the d i r e c t i o n o f the grain o n the corset. O c c a s i o n a l l y the patterns do n o t fit on the page on those pattern pieces the c o r r e c t grain is m a r k e d w i t h a d o u b l e p o i n t e d a r r o w (see r i g h t ) .

Lacing
A l l the corsets f r o m c l 7 5 0 t o c l 8 6 0 are single laced (figure 1). C o r s e t s outside this p e r i o d have a split-busk fastening at the CF a n d they have a d o u b l e - l a c e d back (figure 2) to a l l o w the wearer of the corset to p u t on the g a r m e n t herself, fasten the split busk at the front, then get h o l d o f the laces a t the C B t o d r a w t h e m i n , and t h e n tie t h e m i n a b o w .

Threads
W h e n r e c o n s t r u c t i o n for o l d e r corsets i s b e i n g u n d e r t a k e n , l i n e n thread is the most suitable, but a general rule is to use synthetic threads for synthetic fabrics and natural threads for natural fabrics, such as silk, c o t t o n and l i n e n . T h r e a d can b e i m p r o v e d for s e w i n g b y w a x i n g i t ( d r a w i n g the cut thread over beeswax) before u s i n g it.

Backstitch
B a c k s t i t c h is a stitch that is q u i c k l y executed, w i t h an easy r h y t h m . It is made easier if the seamstress wears a t h i m b l e .

Saddle stitch
M a n y of the early corsets appear to have b e e n saddle stitched; this is a strong stitch, w h i c h p r o b a b l y came f r o m leather w o r k i n g . U s i n g t w o threaded needles at o n c e , p u s h i n g t h r o u g h the t w o or m o r e layers of fabric, alternately, ensures that o n e thread goes t h r o u g h the other o n e and l o c k s the threads together, p r e v e n t i n g t h e m f r o m r u n n i n g .

Stab stitch
Stab stitch is the same as b a c k s t i t c h i n g , but the stitch that is visible on the surface is the size of a p i n h e a d a n d these stitches have spaces b e t w e e n t h e m . U s e d o n the edges o f garments t o h o l d the layers i n place, it is b o t h a decorative a n d practical stitch.

116 Techniques

Worked eyelets
Eyelets are usually p o s i t i o n e d b e t w e e n t w o bones, but they can be on the edge of the corset. T h e y are usually executed w h e n the g a r m e n t is finished. T h e r e is the same n u m b e r of eyelets on b o t h sides of the corset, but they are usually ' d i s p l a c e d ' . T h i s means that, instead of the eyelets all l i n i n g u p w i t h their opposite h o l e , o n e o f the t o p o r b o t t o m eyelets i s not i n line. T h e t h e o r y is that, w h e n laced, the corset w i l l lie together evenly. W i t h some corsets, however, there is no displacement a n d those corsets lie evenly. If there is displacement on the o r i g i n a l corset, y o u are r e c o m m e n d e d to f o l l o w that displacement as the o r i g i n a l m a k e r p r o b a b l y k n e w best. W o r k e d eyelet holes are also used to tie s h o u l d e r straps to the corset and sometimes t o j o i n o n petticoats.

W h i p p e d eyelets
To create a h a n d - w o r k e d eyelet, first use a stiletto or a w l to push a h o l e t h r o u g h all the layers of fabric. A stiletto or a w l is i d e a l , but a n y t h i n g that can prise the threads of the g a r m e n t apart w i t h o u t b r e a k i n g t h e m is suitable. A stiletto was designed for this a c t i o n a n d examples can still be f o u n d in antique shops or markets, but be careful to b u y o n e w i t h a perfect p o i n t . Y o u can also b u y n e w ones in specialist shops. O n c e the h o l e has b e e n created, use a single w a x e d thread to oversew or w h i p the edges t i g h t l y practice makes perfect.

Buttonholed eyelets
O c c a s i o n a l l y a small metal or b o n e r i n g is used to strengthen the h o l e , w h i c h is then b u t t o n h o l e stitched rather than w h i p stitched. T h e c. 1598 corset pattern in Janet A r n o l d ' s Patterns of Fashion is executed this way (see F u r t h e r R e a d i n g , page 124). N o n e o f the h a n d - s t i t c h e d corsets illustrated in this b o o k h a d metal or o t h e r rings strengthening the eyelet hole.

Inserting a gusset
As w i t h the G i r l ' s W h i t e Jean C o r s e t project (see page 108), the gusset is usually inserted in the surface fabric and the l i n i n g fabric before they are s a n d w i c h e d together. In s o m e cases the gusset is l i n e d before b e i n g inserted, as in the 1 8 3 0 - 4 0 R u r a l C o r d e d C o r s e t (see page 34), w h e r e it was inserted in the o u t e r fabric, then the l i n i n g of the b o d y of the corset was t u r n e d i n and h a n d stitched d o w n . W h e n the first m e t h o d of i n s e r t i n g a gusset is executed, the fabric is cut and the edges t u r n e d u n d e r (stage l ) . T h e n the edges are laid over the gusset a n d b a c k s t i t c h e d i n t o place (stage 2). S o m e t i m e s further n e a t e n i n g or flossing takes place at the p o i n t of weakness, as in the G i r l ' s W h i t e Jean C o r s e t (see page 108).

118 Techniques

Binding
T h e b i n d i n g for most corsets is e x e c u t e d w i t h straight tape, usually a t w i l l - w e a v e tape. A neat finish is achieved if the tape is l a i d on the inside o f the g a r m e n t and h a n d stitched d o w n , then p u l l e d over to the front of the corset and neatly h a n d stitched there. H a l f o f the b i n d i n g appears on the inside, and h a l f o n the outside o f the corset. Bias b i n d i n g is not used i n the c o n s t r u c t i o n o f any o f the corsets in this b o o k as it has no strength and wears easily.

Taping seams
A n a r r o w 1/4 in ( 6 m m ) strongly w o v e n tape is often laid over the gulley o f seams i n the h e a v i l y w h a l e b o n e d earlier corsets, p r o b a b l y to i m p r o v e the w a y they l o o k e d a n d to stop the gutters of the seams s h o w i n g t h r o u g h the top g a r m e n t .

Techniques 119

Flossing
Flossing is a decorative stitch finish, usually in a b r i g h t or contrast e m b r o i d e r y thread, w h i c h is used to secure the e n d of the b o n e , s t o p p i n g the b o n e s l i p p i n g about i n the b o n i n g c h a n n e l .

T h e needle is inserted at o n e side of the b o n e , then again at the top of the bone, in and out, crossing the thread (figure 1).

T h e n the needle is inserted again, this t i m e opposite the o r i g i n a l p o i n t , passing the needle u n d e r the b o n e and a p p e a r i n g again u n d e r the v e r y first stitch (figure 2).

R e p e a t these actions three or four times (figure 3 a n d 4), then finish the threads on the inside of the garment.

T w o other flossing finishes (figure 5) are also f o u n d on the B l a c k - a n d Y e l l o w Flossed C o r s e t (see page 70) and the B l a c k C o r s e t w i t h B l u e Flossing (see page 74). P r e s u m a b l y the i n c l u s i o n o f ' h a n d finishing' on these corsets meant that they w o u l d have been m o r e expensive.

120 Techniques

Cording
K n o w n also a s s t r i n g c o r d i n g o r ' c a n d l e w i c k i n g ' , the process o f c o r d i n g is very similar to Italian q u i l t i n g . A g o o d e x a m p l e of c o r d i n g can be seen i n C o r d e d Taffeta C o r s e t (see page 38). O n the earlier corsets n a r r o w channels were created by b a c k s t i t c h i n g or saddle s t i t c h i n g parallel lines, then string or similar was p u l l e d t h r o u g h w i t h a l o n g , strong needle. Later, factories such as S y m i n g t o n ' s h a d their o w n machines, w h i c h created lengths of c o r d e d fabrics that were t h e n cut up for panels in the corsets. M a c h i n e - m a d e c o r d i n g is fine a n d often a layer of Hessian w o u l d have been added in to strengthen it. T h i s created a pliable yet supportive fabric. It may be s u r p r i s i n g to f i n d that so m u c h c o r d i n g is present in corsets, but it was cheap to p r o d u c e a n d possibly m o r e comfortable than steel or w h a l e b o n i n g .

Techniques 121

Split busk insertion

W h e n c o n s t r u c t i n g a corset u s i n g a split busk, insert the busk i n t o the centre-front panels before attaching those panels to any o t h e r panel. A l s o , create the b o n e channels and insert the eyelets on the centre-back panels, before c o n s t r u c t i n g the corset. U s u a l l y the l o o p sides of a split busk are inserted in the wearer's ('her') r i g h t side and the stud side o n h e r left. O n c o m m e r c i a l l y m a d e corsets f r o m 1850 onwards the split busk is usually encased b e t w e e n the o u t e r fabric and the l i n i n g fabric. F o r practical purposes, p r o v i d i n g the outer, seen fabric is reasonably durable: 1. L a y o u t the left front of the corset, r i g h t side up. L a y the l i n i n g r i g h t side d o w n o n top and stitch the centre-front ( C F ) seam. T r i m the seam allowances to 1/4in ( 6 m m ) . P o s i t i o n the busk so y o u can see w h e r e the studs n e e d to appear. Starting w i t h the top stud, use a stiletto to p u s h t h r o u g h a n d m a k e a h o l e f r o m the r i g h t side of the m a i n fabric; push the first stud t h r o u g h (see figure 1). R e p e a t w i t h the r e m a i n i n g studs, m a k i n g sure y o u keep the fabric taut b e t w e e n the studs. F o l d back the fabrics to d e c i d e w h e r e the seam allowances s h o u l d lie - they n o r m a l l y lie u n d e r the split busk on the inside of the corset (see figure 2). F o l d the l i n i n g over the busk, m a t c h i n g the edges o f the l i n i n g a n d m a i n fabric. P i n the layers. U s i n g a z i p (zipper) foot, m a c h i n e close to the edge of the busk, k e e p i n g the fabric taut (see figure 3). Place the l o o p e d part of the busk on the r i g h t corset front a n d m a r k w h e r e the loops fall a l o n g the C F seam (figure 4). M a k e sure the left and r i g h t corset fronts w i l l be a l i g n e d w h e n the studs a n d loops o f the busk m a r r y up. S t i t c h the C F seam, l e a v i n g gaps for the l o o p s .

2.

3.

4.

5.

S l i p the l o o p e d side of the busk i n t o p o s i t i o n . T h i s t i m e the seam allowances lie either side o f it. F o l d the l i n i n g b e h i n d the m a i n fabric, m a t c h i n g the edges, and p i n the layers together. U s i n g a z i p (zipper) foot, m a c h i n e close to the edge of the busk, k e e p i n g the fabric taut (figure 5). C h e c k that the busk closes p r o p e r l y and the t w o fronts are a l i g n e d before c o n t i n u i n g w i t h the c o n s t r u c t i o n o f the corset (figure 6).

6.

Metal eyelets
H o l e s to ' p u n c h ' the eyelets t h r o u g h are best created by u s i n g a stiletto or a w l , a t o o l that prises the threads apart to create the h o l e rather than w e a k e n i n g the fabric by b r e a k i n g the threads as an eyelet p u n c h w o u l d do. If an eyelet p u n c h is used, make sure the h o l e ' p u n c h e d ' is a b i t smaller than the d i a m e t e r of the i n t e n d e d metal eyelet M e t a l eyelets or F r e n c h holes have b e e n available since c. 1830. T h e ones I prefer to use are the ' h a m m e r i n ' ones (see List of Suppliers page 127), b e i n g easy to insert, c o m f o r t a b l e to wear and strong. S m a l l , backless eyelets are n o t as effective, as they can easily p u l l out w h e n l a c i n g . E y e l e t i n g machines are available. Eyelets are usually situated b e t w e e n t w o bones and are usually evenly m a t c h e d , except w h e n o n e o f the top o r b o t t o m eyelets i s displaced, i n t h e o r y t o stop the corset l a c i n g unevenly. T h e b o n i n g and eyeleting o f the centre-back panel is easier to achieve before the corset is made up, but eyeleting can be left u n t i l the corset has b e e n c o n s t r u c t e d .

Further Reading
A r n o l d , Janet (1985) Patterns of Fashion:The cut and construction of clothes for men and women c. 1560-1620, D r a m a B o o k s ( U K ) and Q u i t e Specific M e d i a (US) A r n o l d , Janet (1977) Patterns of Fashion 1, Englishwomen's dresses and their construction c.1660-1860, M a c m i l l a n ( U K ) and Q u i t e Specific M e d i a ( U S ) A r n o l d , Janet (1977) Patterns of Fashion 2, Englishwomen's dresses and their construction c . 1860-1940, M a c m i l l a n ( U K ) a n d Q u i t e Specific M e d i a ( U S ) B a u m g a r t e n , L i n d a (2002) What Clothes Reveal: The Language of Clothing in Colonial and Federal America,Yale U n i v e r s i t y Press, U S A B r a d f i e l d , N a n c y (1968) Costume in Detail, H a r r a p ( U K ) and C o s t u m e and F a s h i o n Press, a n i m p r i n t o f Q u i t e Specific M e d i a G r o u p L t d . ( U S ) B u c k , A n n e (1984) Victorian Costume and Costume Accessories, R u t h B e a n B l u m , Stella (1974) Harpers Bazaar, D o v e r P u b l i c a t i o n s Inc. C a r t e r , A l i s o n (1992) Underwear, the Fashion History, Batsford Coates, A l w y n R. (2001) Voller Corset Photographed,Yellowhead

C u n n i n g t o n , C . W . & C u n n i n g t o n P. (1951) The History of Underclothes, M i c h a e l Joseph D o y l e , R o b e r t (1997) Waisted Effort, S a r t o r i a l Press P u b l i c a t i o n s , U S A G i b b s - S m i t h , C h a r l e s H. (1960) The Fashionable Lady in the 19th Century, H e r Majesty's Stationery O f f i c e G u e n t h e r , Irene (2004) Nazi Chic?, B e r g H a r t , A v r i l and N o r t h , Susan (1998) Historical Fashion in Detail in the 11th and 18th Centuries,V&A P u b l i c a t i o n s J o h n s t o n , L u c y (2005) Nineteenth-century Fashion in Detail,V&A Publications Lady, A. (1986) Workwoman's Guide, O p u s P u b l i c a t i o n s M a y , T r e v o r (1991) An Economic and Social History of Britain Longman M i k h a i l a , N i n y a , a n d M a l c o l m - D a v i e s , Jane, (2006) The Tudor Tailor, Batsford ( U K ) and C o s t u m e and F a s h i o n Press, a n i m p r i n t o f Q u i t e Specific M e d i a ( U S ) Page, C h r i s t o p h e r (1981) Foundations of Fashion, Leicestershire M u s e u m s Shep, R . L . (1993) Corsets: A Visual History, R . L . Shep, U S A 1760-1910,

124 Further Reading

Steele, V a l e r i e (2001) The Corset A Cultural History,Yale U n i v e r s i t y Press, USA S u m m e r s , L e i g h (2001) Bound to Please, B e r g Taylor, L o u and W i l s o n , E l i z a b e t h (1989) Through the Looking Glass: A history of dress from 1860 to the present day, B B C B o o k s Tozer, Jane and L e v i t t , Sarah (1983) Fabric of Society: A century of people and their clothes 1770-1870, L a u r a A s h l e y L t d T o b i n , S h e l l e y (2000) Inside Out: A brief history of underwear,The N a t i o n a l Trust T h e K y o t o C o s t u m e Institute (1999) Visions of the Body: Fashion or Invisible Corset, N i s s h a P r i n t i n g C o . L t d T h e K y o t o C o s t u m e Institute (2002) Fashion: A history from the 18th to the 20th century,Taschen T h e K y o t o C o s t u m e Institute (1989) Revolution in Fashion, European Clothing 1715-1815, A b b e v i l l e Press, N e w Y o r k W a r r e n , P h i l i p (2001) Foundations of Fashion, the Symington Corsetry Collection 1860-1990, Polar P r i n t W a u g h , N o r a h (1987) Corsets and Crinolines, Batsford

Articles
A r n o l d , Janet, A wedding dress worn by the Danish Princess Sophia Magdalena in 1766 ( C o s t u m e 1) A r n o l d , Janet, The 'pair of straight bodies' ( C o s t u m e 41) C a m p b e l l , M y r t l e , Embroidered bodices: an East India Company connection? ( C o s t u m e 36) Mactaggart, P and R. A . , Half a century of corset making: Mrs Turner's recollections ( C o s t u m e 1 1 , 1 9 7 9 ) Mactaggart, P and R. A . , Ease, Convenience and stays, 1750-1850 ( C o s t u m e 13, 1981) S u m m e r s , L e i g h , Yes, they did wear them: working-class women and corsetry in the nineteenth century ( C o s t u m e 36) Waterhouse, H . , A fashionable conftnement: whaleboned stays and the pregnant woman ( C o s t u m e 41)

Further Reading 125