Corsets HISTORYCAL PATTERNS AND TECHNIQUES

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 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 Contents Acknowledgements Introduction Patterns Projects 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 L i n e n C o r s e t , 1790 Pink J u m p s , 1798 W h i t e L i n e n J u m p s , c 1790 14 Pregnancy C o r s e t , - B r o w n Jean C o r s e t , 1790 10 02 G i r l ' s W h i t e Jean C o r s e t , 1900 08 18 Techniques 114 22 26 Further Reading 124 30 Rural C o r d e d Corset, 1830-40 C o r d e d TafFeta C o r s e t , 1840 34 Useful Addresses 126 38 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 , 8 - 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 46 50 Index 128 54 'Pretty H o u s e m a i d ' C o r s e t , 1890 58 Khaki C o r d e d Corset, 1890-1900 62 Large B l u e Jean C o r s e t , - 66 B l a c k - a n d - Y e l l o w Flossed C o r s e t , - 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 , 0 - L o n g W h i t e C o r s e t , 1914 74 78 82 86 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 List of Suppliers 42 94 90 70 127 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 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 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 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 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 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 not reflect everyday wear So the garments in museums 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 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 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 t o c l 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 - 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 1/4in ( 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 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: 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 ( 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 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) 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 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 1760-1910, 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 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 , 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 [...]... 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, 1780—85 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... 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. .. 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... 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... 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... 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... 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. .. (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... 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 ... 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 ... 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... 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... 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