A corset is a garment worn to hold and shape the torso into a
desired shape for aesthetic or medical purposes (either for the duration
of wearing it, or with a more lasting effect). Both men and women are
known to wear corsets, though women are more common wearers.
In recent years, the term “corset” has also been borrowed by the fashion
industry to refer to tops which, to varying degrees, mimic the look of
traditional corsets without actually acting as one. While these modern
corsets and corset tops often feature lacing and/or boning and generally
mimic a historical style of corsets, they have very little if any effect
on the shape of the wearer’s body. Genuine corsets are usually made by
a corsetmaker and should be fitted to the individual wearer.
The word corset is derived from the Old French word corps, the diminutive of
body, which itself derives from corpus – Latin for body. The craft of corset construction
is known as corsetry, as is the general wearing of them. (The word corsetry is
sometimes also used as a collective plural form of corset.) Someone who makes
corsets is a corsetier or corsetière (French terms for a man and for a woman,
respectively), or sometimes simply a corsetmaker. The word corset came into general
use in the English language in 1785. The word was used in The Ladies Magazine
to describe a “quilted waistcoat” called un corset by the French. The word was used
to differentiate the lighter corset from the heavier stays of the period.
The most common and well-known use of corsets is to slim the
body and make it conform to a fashionable silhouette. For women
this most frequently emphasizes a curvy figure, by reducing
the waist, and thereby exaggerating the bust and hips. However,
in some periods, corsets have been worn to achieve a tubular
straight-up-and-down shape, which involves minimizing the bust and hips.
For men, corsets are more customarily used to slim the figure. However,
there was a period from around 1820 to 1835 when a wasp-waisted figure
(a small, nipped-in look to the waist) was also desirable for men; this
was sometimes achieved by wearing a corset.
An overbust corset encloses the torso, extending from just under the arms
to the hips. An underbust corset begins just under the breasts and extends down
to the hips. Some corsets extend over the hips and, in very rare instances, reach the knees.
A shorter kind of corset, which covers the waist area (from low on the ribs to just
above the hips), is called a waist cincher. A corset may also include garters to hold up
stockings (alternatively a separate garter belt may be worn for that).
Normally a corset supports the visible dress, and
spreads the pressure from large dresses, such as the
crinoline and bustle. Sometimes a corset cover is used to
protect outer clothes from the corset and to smooth the lines
of the corset. The original corset cover was worn under the
corset to provide a layer between it and the body. Corsets
were not worn next to the skin, possibly due to difficulties
with laundering these items during the 19th century, as they
had steel boning and metal eyelets which would rust. The
corset cover would be in the form of a light chemise,
made from cotton lawn or silk.
People with spinal problems such as scoliosis or with internal injuries may be fitted
with a form of corset in order to immobilize and protect the torso. Andy Warhol was shot
in 1968 and never fully recovered, and wore a corset for the rest of his life.
Aside from fashion and medical uses, corsets are also used
in sexual fetishism, most notably in BDSM activities. In BDSM, a
submissive can be forced to wear a corset which would be laced
very tight and give some degree of restriction to the wearer. A dominant
can also wear a corset, often black, but for entirely different reasons,
such as aesthetics, and to achieve a severe, armored, “unbending”,
commanding appearance. A very common fetish costume for
women is the dominatrix costume. Usually it consists of mostly
dark or even black clothing. The woman usually wears a corset or
bustier and stockings with high-heeled footwear. High boots
are quite common as they enhance the woman’s domination.
Women in dominatrix costumes usually carry an accessory such
as a whip or a riding crop. A specially designed corset, in which
the breasts and vulva are left exposed can be worn during.
vanilla sex or BDSM activities.
Corsets are typically constructed of a flexible material (like cloth,
particularly coutil, or leather) stiffened with boning (also called ribs or stays) inserted
into channels in the cloth or leather. In the 19th century, bones of elephant, moose,
and whale were favored for the boning. Plastic is now the most commonly
used material for lightweight corsets and the majority of poor quality corsets,
whereas spring or spiral steel is preferred for stronger corsets and generally the
better quality corset too. Other materials used for boning include ivory, wood,
and cane. (By contrast, a girdle is usually made of elasticized fabric,
Corsets are held together by lacing, usually (though
not always) at the back. Tightening or loosening the lacing
produces corresponding changes in the firmness of the corset.
Depending on the desired effect and time period, corsets can be
laced from the top down, from the bottom up, or both up from the
bottom and down from the top, using two laces that meet in the
middle. It is difficult—although not impossible—for a back-laced
corset-wearer to do his or her own lacing. In the Victorian
heyday of corsets, a well-to-do woman’s corset laces would
be tightened by her maid, and a gentleman’s by his valet.
However, Victorian corsets also had a buttoned or
hooked front opening called a busk. If the corset was
worn loosely, it was possible to leave the lacing as
adjusted and take the corset on and off using the front
opening (if the corset is worn snugly, this method will
damage the busk if the lacing is not significantly
loosened beforehand). Self-lacing is also almost impossible
with tightlacing, which strives for the utmost possible reduction
of the waist. Modern tightlacers, lacking servants,
are usually laced by spouses and partners.
By wearing a tightly-laced corset for extended periods, known
as tightlacing, men and women can learn to tolerate extreme waist constriction
and eventually reduce their natural waist size. Tightlacers dream of 16 inches (41 cm)
and 17 inches (43 cm) waists, but most are satisfied with anything under
20 inches (51 cm). Some went so far that they could only breathe with the top part of their
lungs. This caused the bottom part of their lungs to fill with mucus, symtoms of this
include a slight but persistant cough and heavy breathing causing a heaving
appearance of the bosom. Until 1998, the Guinness Book of World Records
listed Ethel Granger as having the smallest waist on record at 13 inches (33 cm).
After 1998, the category changed to “smallest waist on a living person”
and Cathie Jung took the title with a 15 inches (38 cm) waist. Other women,
such as Polaire, also have achieved such reductions
(14 inches (36 cm) in her case).
However, these are extreme cases. Corsets were and are still usually
designed for support, with freedom of body movement, an important
consideration in their design. Present day corset-wearers usually tighten
the corset just enough to reduce their waists by 2 inches (5.1 cm) to
4 inches (10 cm); it is very difficult for a slender woman to achieve
as much as 6 inches (15 cm), although larger women can do so more easily.
In the past, a woman’s corset was usually worn over a chemise, a sleeveless
low-necked gown made of washable material (usually cotton or linen). It absorbed
perspiration and kept the corset and the gown clean. In modern times, an
undershirt or corset liner may be worn.
Moderate lacing is not incompatible with vigorous activity.
Indeed, during the second half of the 19th century, when corset
wearing was common, there were sport corsets specifically designed
to wear while bicycling, playing tennis, or horseback riding,
as well as for maternity wear.
The corset has been erroneously attributed to Catherine de’ Medici, wife
of King Henry II of France. She enforced a ban on thick waists at court attendance
during the 1550s. For nearly 350 years, women’s primary means of support was
the corset, with laces and stays made of whalebone or metal. Other
researchers have found evidence of the
use of corsets in early Crete.
The corset has undergone many changes. The corset was
originally known as stays in the early 16th century. It was a
simple bodice with tabs at the waist, stiffened by horn, buckram,
and whalebone. The center front was further reinforced by a busk
made of ivory, wood, or metal. It was most often laced from
the back, and was, at first, a garment reserved for the aristocracy.
Stays took a different form in the 18th century, whalebone began to be
used more, and there was more boning used in the garment. The shape of the
stays changed as well. The stays were low and wide in the front, while in the
back they could reach as high as the upper shoulder. Stays could be strapless
or use shoulder straps. The straps of the stays were attached in
the back and tied at the front sides.
The purpose of 18th century stays was to support the bust, confer
the fashionable conical shape while drawing the shoulders back. At this
time, the eyelets were reinforced with stitches, and were not placed
across from one another, but staggered. This allowed the stays to be
spiral laced. One end of the stay lace is inserted and knotted in the
bottom eyelet, the other end is wound through the stays’ eyelets
and tightened on the top. Tight-lacing was not common in this
time period, and indulged in only by the very fashionable.
Stays were worn by women in all societal levels, from
ladies of the court to street vendors. At this time, there
were two other variants of stays, jumps, which were
looser stays with attached sleeves, like
a jacket, and corsets.
Corsets were originally quilted waistcoats, worn by French women
as an alternative to stiff corsets. They were only quilted linen, laced in the
front, and un-boned. This garment was meant to be worn on informal occasions,
while stays were worn for court dress. In the 1790s, stays fell out of fashion. This
development coincided with the French Revolution, and the adoption of neoclassical
styles of dress. Interestingly, it was the men, Dandies, who began to wear corsets.
The fashion persisted thorough the 1840s, though after 1850 men who wore corsets
claimed they needed them for “back pain”.
Stays went away in the late 18th century, but the corset remained.
Corsets in the early 19th century lengthened to the hip, the lower
tabs replaced by gussets at the hip. Room was made for the bust in
front with more gussets, and the back lowered. The shoulder straps
disappeared in the 1840s for normal wear.
In the 1820s, fashion changed again, with the waistline lowered back to
almost the natural position. Corsets began to be made with some
padding and boning. Corsets began to be worn by all classes of society.
Some women made their own, while others bought their corsets. Corsets
were one of the first mass produced garments for women. Corsets began to
be more heavily boned in the 1840s. By 1850, steel
boning became popular.
With the advent of metal eyelets, tight lacing became possible.
The position of the eyelets changed, they were now situated across
from one another at the back. The front was now fastened with a metal
busk in front. Corsets were mostly white. The corsets of the 1850s-1860s
were shorter than the corsets of the 19th century through 1840s. This
was because of a change in the silhouette of women’s fashion.
The 1850s and 60s emphasized the hoopskirt. After the 1860s,
when the hoop fell out of style, the corset became longer to
mold the abdomen, exposed by the new lines of the
princess or cuirass style.
During the Edwardian period, the straight front corset (also known as
the S-Curve corset) was introduced. This corset was straight in front, with a
pronounced curve at the back that forced the upper body forward, and
the derrière out. This style was worn from 1900-1908.
The corset reached its longest length in the early 20th century.
The longline corset at first reached from the bust down to the
upper thigh. There was also a style of longline corset that started
under the bust, and necessitated the wearing of a brassiere.
This style was meant to complement the new silhouette.
It was a boneless style, much closer to a modern
girdle than the traditional corset. The longline
style was abandoned during World War I.
The corset fell from fashion in the 1920s in Europe and North America,
replaced by girdles and elastic brassieres, but survived as an article of costume.
Originally an item of lingerie, the corset has become a popular item of outerwear in
the fetish, BDSM and goth subcultures. In the fetish and BDSM literature, there is often
much emphasis on tightlacing, and many corset
makers cater to the fetish market.
Outside the fetish community, living history re-enactors
and historic costume enthusiasts still wear corsets
according to their original purpose, to give the proper
shape to the figure when wearing historic fashions.
In this case, the corset is underwear rather than
outerwear. Skilled corset makers are available to
make reproductions of historic corset shapes,
or to design new styles.
There was a brief revival of the corset in the late 1940s and early
1950s, in the form of the waist cincher sometimes called a “waspie”. This
was used to give the hourglass figure dictated by Christian Dior’s ‘New Look’.
However, use of the waist cincher was restricted to haute couture, and mos
t women continued to use girdles. This revival was brief, as the New Look
gave way to a less dramatically-shaped silhouette.
Since the late 1980s, the corset has experienced periodic
revivals, which have usually originated in haute couture and
which have occasionally trickled through to mainstream fashion.
These revivals focus on the corset as an item of outerwear
rather than underwear. The strongest of these revivals
was seen in the Autumn 2001 fashion collections and
coincided with the release of the film Moulin Rouge!, the costumes
for which featured many corsets as characteristic of the era. Another
fashion movement which has renewed interest in the corset is the
“Steampunk” culture, which utilizes late-Victorian fashion
shapes in new ways. The look was popularized by the
costumes in the film “The Golden Compass.”
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Much of his work is associated with the movement to
redefine the female fashionable shape, removing
excessive ruffles and frills and using rich fabrics in
simple but flattering outlines.He is credited as the first
designer to put labels onto the clothing he manufactured.
Worth gave his customers luxurious materials and
meticulous fit. Rather than let the customer dictate
the design, as had previously been dressmaking practice,
four times a year he displayed model dresses at fashion
shows. His patronesses would pick a model, which
would then be sewn in fabrics of their choice and
tailored to their figure. Worth became so popular
that he had to turn customers away. He was the
first courturier and considered more of an artist
than an aritsan. Worth and Bobergh shut down
during the Franco-Prussian War and re-opened
in 1871, without Bobergh, as the House of Worth.
He left the business to his sons, one, Gaston, of whom is
the Founder of Chambre Syndicale de la Haute Couture.
The House of Worth eventually closed in 1956 after
taken over by Jeanne Paquin.
House of Worth also had a
successful line of make-up
and perfumes, some
can be found
Although I’d love to just write about Mr. Worth to the ends
of Earth, this is afterall a blog & most people are like rats on crack so
I must keep it short. However, the link to the wiki page is connected
to his name. I am just going to sum it up for you right here. I was
obsessed with the man in college because of one of my
instructors, JS (I don’t know if I
have permission to
post her name).
Charles Frederick Worth was born in England, 13 October 1825.
He worked for several London drapery shops prior to moving to
Paris in 1846. His big break came when he was hired by a famous
Parisian drapery house where he met his wife, Marie Vernet, one
of the houses models. (At this time models were used strictly for
draping shawls, hats, and other accessories of the time.) He began
making dresses for her & other women began to ask him to make
copies for them. Worth began using his wife as his in house model
in which she would be used for both samples and showings within
the boutique, as result Marie Vernet became the world’s first Super
Model (Take that Janice Dickinson!!). This gained him fame and
he caught the attention of Eugénie de Montijo a.k.a Empress
Eugénie, wife of Napolean III (the French emperor). Eventually
he made the garments for the rest of her court. The next patron
to his talent was Pauline von Metternich, Princess of Austria.
Patrons came from New York and Boston came to see his
work and buy them.