Ghost
Untitled by Frederic Soulacroix, ca 1900 France

Untitled by Frederic Soulacroix, ca 1900 France

Photo of Blanche Bates, ca 1894 US (Milwaukee)

Photo of Blanche Bates, ca 1894 US (Milwaukee)

Photo of Lina Abarbanell, ca 1890’s Berlin

Photo of Lina Abarbanell, ca 1890’s Berlin

Dresses, 1892 Germany, Illustrirte Frauen-Zeitung

Dresses, 1892 Germany, Illustrirte Frauen-Zeitung

bygoneyears: Fashion plate taken from the October 1899 issue of McCall’s magazine.

bygoneyears:

Fashion plate taken from the October 1899 issue of McCall’s magazine.

Sophie Hunter Colston by William Robinson Leigh, 1896

Sophie Hunter Colston by William Robinson Leigh, 1896

Portrait of Lillie Langtry by Herbert Gustave Schmalz, 1890’s

Portrait of Lillie Langtry by Herbert Gustave Schmalz, 1890’s

Corset, 1890-95 England, the V&A Museum Improvements in design, equipment and materials meant that corsets could mould the figure to suit the latest fashions. The straight busk on this corset creates a vertical line from bust to abdomen which complemented the less rounded, more angular silhouette of the 1890s. It was also supposed to relieve pressure on the internal organs while supporting the stomach. Shaped pieces (five on each side) have been seamed together and bust and hip gussets inserted to give the corset its distinctive shape. Strips of whalebone follow the contours of the hourglass silhouette, creating a rigid structure to emphasise the smallness of the waist. Each strip is enclosed in a bone channel formed by neat rows of machine stitching. The decorative embroidery stitches (flossing) visible towards the bottom and back of the corset prevent the whalebone from forcing its way out of these channels. A hook is attached at the centre front to prevent the petticoat from riding up and causing extra bulk at the waist.

Corset, 1890-95 England, the V&A Museum

Improvements in design, equipment and materials meant that corsets could mould the figure to suit the latest fashions. The straight busk on this corset creates a vertical line from bust to abdomen which complemented the less rounded, more angular silhouette of the 1890s. It was also supposed to relieve pressure on the internal organs while supporting the stomach. Shaped pieces (five on each side) have been seamed together and bust and hip gussets inserted to give the corset its distinctive shape. Strips of whalebone follow the contours of the hourglass silhouette, creating a rigid structure to emphasise the smallness of the waist. Each strip is enclosed in a bone channel formed by neat rows of machine stitching. The decorative embroidery stitches (flossing) visible towards the bottom and back of the corset prevent the whalebone from forcing its way out of these channels. A hook is attached at the centre front to prevent the petticoat from riding up and causing extra bulk at the waist.

Boots (fetish?), 1895-1915 Belgium (made for a London store), the V&A Museum

Boots (fetish?), 1895-1915 Belgium (made for a London store), the V&A Museum

Display boots, 1895-1915 Vienna, the V&A Museum

Display boots, 1895-1915 Vienna, the V&A Museum

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