Ghost
Stays, ca 1790 England or France, the V&A Museum These are interesting because they’re right in the middle of the transition from rigid, mono-boobed 18th century stays to the softer ones worn in the early 19th century.  Those odd tabs hanging off the back may have functioned as a miniature bustle.

Stays, ca 1790 England or France, the V&A Museum

These are interesting because they’re right in the middle of the transition from rigid, mono-boobed 18th century stays to the softer ones worn in the early 19th century.  Those odd tabs hanging off the back may have functioned as a miniature bustle.

Stays and busk, 1660’s England, the V&A Museum Stays (a stiff corset) were essential garments in the fashionable woman’s wardrobe throughout the 17th century. Some sort of stiffening of a woman’s gown had been part of dress construction since the early 16th century. Sometimes it was added to the outer bodice; sometimes it was in the form of separate stays worn under the gown. Originally the stiffening served the purpose of preventing the expensive and elaborately decorated fabric of the gown from wrinkling. However, because stays could mould the female torso, they became essential for producing whatever shape was considered fashionable.

Stays and busk, 1660’s England, the V&A Museum

Stays (a stiff corset) were essential garments in the fashionable woman’s wardrobe throughout the 17th century. Some sort of stiffening of a woman’s gown had been part of dress construction since the early 16th century. Sometimes it was added to the outer bodice; sometimes it was in the form of separate stays worn under the gown. Originally the stiffening served the purpose of preventing the expensive and elaborately decorated fabric of the gown from wrinkling. However, because stays could mould the female torso, they became essential for producing whatever shape was considered fashionable.

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.

Stays, 1770’s France (Alsace), Les Arts Décoratifs

Stays, 1770’s France (Alsace), Les Arts Décoratifs

“A Favorite of the Empress” cage crinoline, 1860-65 UK (probably), the V&A Museum I’m not sure where the name comes from.

“A Favorite of the Empress” cage crinoline, 1860-65 UK (probably), the V&A Museum

I’m not sure where the name comes from.

Corset, ca 1900 US, the Met Museum

Corset, ca 1900 US, the Met Museum

Maternity corset, 1875-99 England or Germany, V&A Museum Maternity corsets of this time were not meant to shape a woman’s body.  Rather, they existed because a corset, worn for shaping or not, was an essential part of a woman’s underwear much like a bra is today.  This example laces on the sides to accommodate an expanding belly.

Maternity corset, 1875-99 England or Germany, V&A Museum

Maternity corsets of this time were not meant to shape a woman’s body.  Rather, they existed because a corset, worn for shaping or not, was an essential part of a woman’s underwear much like a bra is today.  This example laces on the sides to accommodate an expanding belly.

(Left) Stays, ca 1760 France? (Middle) Child’s stays, 1740’s-60’s US (Right) Stays, 1700’s-30’s France KCI Children in the 17th and 18th centuries wore stays (corsets) for waist control and to ensure that their skeleton formed properly.  Later on, children’s stays would function more as an undershirt and were only heavily boned if intended to correct bad posture.

(Left) Stays, ca 1760 France?

(Middle) Child’s stays, 1740’s-60’s US

(Right) Stays, 1700’s-30’s France

KCI

Children in the 17th and 18th centuries wore stays (corsets) for waist control and to ensure that their skeleton formed properly.  Later on, children’s stays would function more as an undershirt and were only heavily boned if intended to correct bad posture.

Early steel-boned stays, 1770’s Italy, the Met Museum

Early steel-boned stays, 1770’s Italy, the Met Museum

Stays, late 1760’s France, the Met Museum

Stays, late 1760’s France, the Met Museum

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