Most modern  corsets, girdles and basques are derived from designs dating through the 19^th Century. Designs include waist cincher, underbust, mid bust and over bust, having different numbers of panels and bones. Rear lacing became the most common although in the 20^th century, front lacing became popular for ease of tightening by the wearer.

The Victorians took tight lacing seriously, but not all corsets were worn in this way, some ladies having to work whilst wearing them. The Symington “Pretty Housemaid’s Corset” was one of the best selling corsets of the time and combined strength with beauty, as a proper corset should. It would have not been possible to do heavy labour whilst being “tight laced” and this practice was probably reserved for ladies who did not need to work.

Strong construction with cording made the Pretty Housemaid Corset a favorite

Most modern  corsets, girdles and basques are derived from designs dating through the 19^th Century. Designs include waist cincher, underbust, mid bust and over bust, having different numbers of panels and bones. Rear lacing became the most common although in the 20^th century, front lacing was more common for ease of tightening by the wearer.

The Victorians took tight lacing seriously, but not all corsets were worn in this way, some ladies having to work whilst wearing them. The Symington “Pretty Housemaid’s Corset” was one of the best selling corsets of the time and combined strength with beauty, as a proper corset should. It would have not been possible to do heavy labour whilst being “tight laced” and this practice was probably reserved for ladies who did not need to work.

The Edwardians introduced a straight front or “S bend” version. This style avoided the concave shape at the tummy of the Victorian corset but placed more strain on the back. Designed as a “health corset”, these were often abused into even tighter lacing. Later corsets slowly evolved into the girdle, with more and more elastic panels and less rigid ones. Many features still remained however, including the front fastening busk and the steel bones.

Lighter garments such as basques and teddies, often dispensed with spiral and flat steel bones and substitued plastic ones in their place. Unfortunately even in these lighter weight garments, they can bend and dig in. They are also less adept at keeping the smooth line of the garment. Even the corseted dresses of the 1950’s couture houses used spiral steels in the foundation. Another method of keeping its shape was cording, common in 18^th and 19^th century, where a series of cords is sewn into the fabric, producing rigidity with a degree of flexibility and comfort.

Contrary to popular belief, bones are not there however, to hold things in, just to support the fabric panels, which do the shaping. The cut of these panels determine the final shape.

This American Patent has rather unusual panels.......

These days for a premium corset, the same basic traditional techniques are used, with the exception of machine stitching, as earlier corsets were all made by hand stitching. Modern techniques and machine stitching of seams,  together with historical developments such as metal eyelets or grommets and front fastening busks, have made the corset much more durable and attractive. A high degree of hand work is still involved however, making corset making labour intensive, even without the hand finished embellishment that is often seen.

Introduction of the front busk fastener allowed less affluent ladies to dress themselves, whereas previously wooden and steel busks were slotted in at the front with no opening. This necessitated help from a family member or maid if you were lucky.

Early lacing was threaded through hand stitched holes, which were superceded by strong eyelets or grommets. The grommet is the better fitting as it has a washer on the inside to grip the fabric better. Found on most hand made corsets, but not on many mass produced ones, even those commanding higher prices.

Flat steel bones are a necessity around the lacing eyelets to keep the material straight when lacing. Flat or spiral steel bones are then chosen at the maker’s judgement. Spiral bones bend in both directions so curved seams are best fitted with these. Some purists keep all bones straight and use nothing but flat steels, sometimes crossing over seams.

A single layer corset can be light whilst being strong enough for normal use, but it needs to be of a strong material such as  cotton“Coutil” which is purpose made for the job. Brocades are another choice, and were used extensively on 20^th century corsets, usually in “tea rose” or white. The dying process for black was found to weaken the fabrics somewhat, but many black corsets were made, showing the dirt less as they were seldom or never washed.

Satins, silks  and other “fashion fabrics”need to be “flat lined” to a stronger material, to avoid stretching out, particularly at the seams. A third fixed or floating lining completes the most common combination, although up to 5 layers are not unknown. More layers are necessary if the corset is to be used for waist reduction. Felled or lapped seams are often used for strength and bone casings used to reinforce seams, whilst containing the bones securely

Tops and bottoms were and are still usually bound in bias tape of the same material as the corset, satin or cotton. Lace and embroidery can be added to make the corset special, but if it is not to show under a dress, it should be kept simple.

Wearing a “proper’” corset should not be an uncomfortable experience. The best corsets are of course made to measure and for extended wear, these are always to be recommended as is a corset tube or chemise under the corset. You should not be able to feel any bones or seams and a supportive tightness should be aimed for. You will find that it feels slacker after wearing for an hour or two and further progressive tightening will be easier.

If tightened gradually and over a period of time, corsets stretch slightly to accommodate the body. A bit like breaking in a new pair of shoes. The body also changes to accommodate the corset, but returns to its previous “settings” after wear. Pulling on the laces too much and too quickly, will wreck a new corset in quick time and may cause discomfort. If you feel discomfort, slacken off the laces. As the Spanish say “poco a poco,” little by little…..

In addition to our vintage inspired wedding dresses, we will be displaying several of our corsets at the above show, held at the Chiswick Town Hall. Although mainly aimed at 20th century vintage brides, our corset display always attracts attention. If you would like to discuss your ideal corset or just come to see our workmanship, drop in and have a chat with Denise or myself. Look for the Andrea Beun Couture stand. (AB Corsets, get it?) To visit our Andrea Beun sister site CLICK HERE

Having time for two websites, apart from making a living is very difficult, but as andreabeun.com features corsetry as part of our services to brides and “ball goers” some overlap in content happens. Have a look at the following poss on andreabeun.com on corsetry matters:

This one on vintage bridal gowns with corset related material

Covered Outer Boning Casings - can look really attractive

Spiral or Flat Steel

You will note that I have left out plastic boning, that should really only be used on outer garments. Cable ties have been used by amateur makers and if budgets are tight they can be an economic alternative. The disadvantages is that they are relatively thick, they deform permanently and if not smoothed or capped at the ends can present sharp edges that wear through evenly. This can be got around however.

Assuming that steel boning is to be used, the flat steel bone, usually plastic coated is the answer for areas of the corset that need to be supported and straight. These areas include the ones around the lacing grommets and close to for back support. This convention is universally accepted as is the extra support sometimes needed for the busk.

Underbusk

An underbusk is a wide flat steel that makes the busk more rigid and less prone to breakage. In a Victorian style corset, it can prevent excess caving in of the abdomen and on a straight fronted corset, adds rigidity where it is needed. “Double busks” were sometimes used in Victorian corsets, being wider flat steels either side of the busk fastener, but the effect was similar. See more on BUSKS HERE

Flats all round?

The area of corset boning that attracts the most disagreement is the use of flat steels in all applications. It is only possible to use flat steels for straight boning, so if your corset design allows for curves in the boning path, they will not work. Even though some Edwardian corset panels were cut to give an outward flare to the bust, often the bones went straight up and down. Going back in time, when bone and cane were used, you did not have access to a bone that would follow all but a slight curve, so the answer then is to do just that.

Some consider that a wider flat steel should be used at the side seam to accentuate the waist shape, but it is all a matter of preference as is the width of boning. Standard 1/4″ bones can be used alone or doubled, 3/8″ also common and occasionally 1/2″ for problem areas.

Variety of 3/8" and double 1/4" bones spiral and flat used here for correct effect on Victorian Mid Bust Corset

Sprial Boning

Made from electroplated steel, these bones can flex to the side and are more flexible in the front to back plane, making them suitable for any position on the corset apart from the busk and back areas. Some say that they are not so supportive as a flat steel, but I doubt that any wearer could tell the difference and opinions swayed by the propaganda of the “extreme corset” followers. They also score with an overbust or cupped corset as a flat unless permanently shaped, will not flow over a curved shape.

So who is right? Let us consider what the bones actually do:

Inner lining gives more protection and comfort

The corset panels

It would seem that many people think that the bones are the main contributor towards the shape, support and reduction given by a proper corset. This is simply not true; the corset effect is the result of the shape formed by joining the shaped panels, many corsets having few bones and in the past cording in their place. The bones are there to keep the panels rigid and to give them vertical support, minimising wrinkling and riding up or down. They do of course sculpture and add strength to the whole thing and make the corset less prone to give, hence larger ladies need more bones due to the panels being wider. It is as simple as that.

Leave it to the Professionals

To conclude, the corset maker will have ideas of their own. A few hard liners will only use flats, but most will incorporate both as befits their use, so you don’t really need to worry about it, unless you are having a go at making one. I would always advise that you use ready made or home made casings for the bones. Sandwiching between panels is asking for trouble, as is suggested on more than one popular pattern. For the ultimate in comfort, use external bone casings. If this is not aesthetically pleasing for you, make an extra floating lining for added protection, but this is comparative luxury, look at most original corsets and you get one layer with bones inside. You are really spoiled these days!

Boning Channels - Long Corset - straight bone path for extremely curvy corset

The same corset on the outside

Narrow busk with under busk reinforcement

Which Era?

If you want to be authentic, the design and time of manufacture of the original type of corset will dictate what busk is necessary. This is not a hard and fast rule though, if you look at some Edwardian corsets, particularly the mass produced American ones, you will see a fair few that have narrower earlier style busks that by definition are more flexible.

Edwardian with narrow busk

edwardian with tapered busk, just to be awkward

Wide busk on short corset

Wide busk on Straight Front Corset

Spoon Busk

Bring up the Reinforcements!

Breakages were and are not unknown, particularly as ladies actually worked in corsets. One answer is the “under busk,” a wide bone stitched in under the busk to stiffen things up somewhat. Others used “double busks” which were merely extra wide bones either side of the busk; used in Victorian styled corsets, they would have still allowed the concave shape at the front but theoretically minimised breakages.

We prefer the under busk on all but the lightest corsets where a narrow busk is used and on most of our straight front corsets, particularly with larger sizes. We also use these on many of our short riding corsets to give added support and avoid any breakages during strenuous effort.

Materials

Apart from the clasp fasteners that are usually nickel or gold plated, the main body of the busk is usually stainless spring steel, that springs back into shape, although a curve can set in on lighter ones. Even the wide busks give to a lesser extent as do those fitted with under busks. I have mentioned mild steel for spoon busks that incorporate a curved profile. These are usually not usually electroplated or coated, so need to be kept away from water.

Narrow Busk on wedding corset

Putting ‘em in

The sideways strength relies on two sets of stitching, the usual seam and the top stitching on the edge of the first panel. If you look carefully at the clasp side, you should see neat top stitching between the clasps with neat ends, that are done invisibly inside. The way the busk lays in either side is a good indication to quality. Enough padding is essential for comfort and a good match at the front when fastened is desirable. A properly fitted busk even with under busk should not be felt at all during wear, but this applies to any boning.

Concealed Busk Corset Top

“I don’t like front fastening busks”

We get this quite a lot with the wedding market and understandably, not every “outerwear” client wants to display clasps at the front. Assuming that a proper corset effect is required, the answer is to have wide steel boning in its place, but this is still usually noticeable. Some makers use heavy zips, successfully I assume, but brides don’t go for that either. Re-threading of laces each time (only once for a wedding?) is not such a problem but having extra long laces to allow entry can be.

Many brides and a few others just want the corset effect with a snug fit, which can be easily accommodated with concealed zips, ribbon lacing and minimal steel boning.

We had a very busy and fruitful time at the St George’s Hotel on Sunday and more important met lots of nice people, whether potential customers or fellow “traders.” The stands were diverse and interesting, from cupcakes, stationery to jewelry, to “real” vintage dresses. The only thing that kept many of the vintage dresses from being bought was the sizing, which seems to be the main problem for most wearers. As I have said in other posts, girls get bigger every day and certainly every decade!

We had lots of interest in our dresses and as always the 50′s styles were the most popular. There were some 40′s enthusiasts there and it was a shame that due to time constraints, our almost complete slinky 40′s sample dress didn’t make an appearance. Nevertheless, several appointments were made for a variety of dress projects including 20′s 30′s and 50′s

We made lots of new friends amongst the sellers and for some reason, our larger than usual corset display generated business from them as well. Nia, a striking young lady from Gallery 6 Studios who is a purveyor of stationery, tried a “waist cincher” (which is actually a reproduction riding corset!) she had “always wanted,” seen here:

We received many compliments about the quality and finish of our garments, one being from a professional costumier. We keep labouring the point, I know, but you have to push your advantages!

Even this less severe Dior dress needs foundations of some sort..........

Under or Over?

For the last few years there has been in increase in the use of rear corset style lacing for mainstream wedding dress design, in addition to the lesser number of enthusiasts that choose a “proper” corset for the top of their wedding ensemble. As corsets have become more mainstream and acceptable, brides are also now considering their use, underneath their dress to achieve a better shape and in some cases a more authentic shape, where a period or vintage look is required.

Comfortable on the Day

Many ladies associate corsetry with restriction and discomfort, the former being decided on the type and tightness of the corset and the latter by the quality and fit of the garment. Efforts to make the corset more flexible and particularly shorter in the waist post WW2, have often resulted in a more uncomfortable garment that was likely to dig in.

A client of ours who is considering a corset for a foundation, rather than for the fashion impact, was surprised at the degree of comfort when laced in to one of our sample corsets. She further commented that she could wear it all day and that she felt no restrictions. Not bad for what was our “off the peg” underbust Edwardian. She showed amazement at the degree of boning whilst examining the corset afterwards, particularly with regard to the wide busk and underbusk steel, commenting that she could not feel that they were there.

The Boning Myth

This demonstrates again that a heavily boned corset need not be uncomfortable but does not prove that a lightly boned corset will not be. Proper flat steel and spiral boning should ensure that the corset lays properly without wrinkles. It is not the bones that give a corset shape, but the cut of the panels.

Waist Re-introduction

The attempt at re-introducing waist cinchers and flimsy basques in the 50′s and 60′s resulted in a lot of discomfort due to the insubstantial bones caving in to the abdomen. It is likely that where used, the couture houses used stronger items, as well as proper steel boning in fitted bodices. The moral is, cheap corsets with flimsy boning are more likely to be uncomfortable, will not give the correct shape and will have a short shelf life.

50's & 60's waist cincher - even this Warners item with reasonably strong boning does not look all that comfortable......

Your Choice

Whether you choose a corseted gown, or a corset as a foundation or fashion statement, you can be reasonably certain that you will be comfortable for the day, provided you choose a properly fitted and constructed garment. If you can’t bear the thought, then as in the 50′s a girdle would be a compromise but their capabilities of waist reduction have been exaggerated in advertising campaigns, as you can see here:

The (high waisted) girdle - a compromise for a waisted look

If you would like a complete vintage outfit have a look at our sister website Andrea Beun Couture or for a suitable wedding foundation for under your dress, CONTACT US without obligation.

Seeing a belted corset on a blog by Sidney Eileen reminded me of a project stashed away in my pending box. Getting a wrinkle free finish on all layers of a corset that is very curvy, is not without its problems. Being adventurous and always looking for something new (which turns out to be something old!) I had previously got half way through making one of the corsets in the “Corsets” book by Jill Salen.

The “Gold Exotic Corset” 1885 caught our attention. We rather liked the waist band that was fastened all the way through to the main body with eyelets. This was supposed to ventilate the corset, which is a little far fetched and presumably the belt served the purpose of reinforcing the waist, which is a little more believable.

Scaling Up

The squared “mini patterns” are all well and good, but combine this with an original size of about 24″ and scaling up becomes more than just making it bigger. In particular the belt, gets wider, making it more prone to lie flat at the waist than the original. Perhaps I should have just lengthened the belt. I will let you know later.

Bone Dodging

The original had cane bones and there isn’t a lot of information about the bones, possibly being sandwiched between the layers or in casings on the inside. The eyelets in the waist band had to avoid the bones and my fitting of “normal” bone casings meant that the eyelets (or grommets in this case) had to be grouped together instead of being at a constant spacing. Denise, my wife muttered something about not liking that………….

Belted Corset - Red Dupioni with Spoon Busk

A lot of hip spring on this one!

Belted Corset - red silk dupioni with spoon busk

Please note that the pictures are “upside down”. Did this on purpose of course.

Do the Twist

With the belt tacked in place down the centre and between the busk and the second front panel, (the spoon busk not making it any easier!) it was carefully pinned and basted in position. The curvature of the corset necessitated twisting and extending the top and bottom so that the belt fitted without causing bunching of the layers. The back edge of the belt was popped between the panels and stitched in. I don’t know at this point if this half of the corset has worked properly and will only know for certain, when a certain guinea pig tries it on….It could all end in tears, or an extremely defined waist!

Shot dupioni, a good compromise of beauty and practicality

Natural or Man Made?

Man made fabrics can be strong and durable with a downside of a lack of “breathability.”

Don't rule out strong and attractive brocades!

If comfort is not an issue then the practicalities of how strong the fabric is and how it sews, stretches and creases will be other factors to consider. Strength can be added to fashion layers by flat lining to coutil or other similar material. Some fabrics are notorious for leaving marks left by the finest pins and others will show a pull accross the grain when grommets are inserted. These things can be got around, the latter problem being reduced by hole punching and careful pressure when forming the grommets. I prefer to ease the fibres with an awl, but many do not think that this method is the best, and for a lighter weight garment not intended for tight lacing, I would possibly agree.

Your Choice?

Self Lining in Duchess Satin - best of both worlds?

Linings

The cause of arguments in our workshop, the shiniest and plush looking linings are not always the most comfortable and can slip. A silk drill or taffeta will give a comfortable lining that is plush looking and breathable. It will not add a lot of strength to the garment however so adding as an extra layer either fixed or floating is my preference. The midde layers will normally be of coutil or other strong cotton based material, which can be a little rough if used in two layer construction, but it does go softer with washing and if a chemise or corset liner is worn, it won’t be too much of a problem.

History

It has been suggested that only the relatively wealthy had access to decorated fine silks and satins for their corsets. Indeed when one examines the degree of tight lacing in photos, it seems that the richer you were, the tighter you had to lace; royal figures seeming to be the most extreme. (or where they touched in?)

Although the poorer lady did wear more utilitarian corsets, sometimes consisting of one layer of cotton, reinforced here and there, and often plain un-dyed cotton at that. One can find examples of mass produced corsets from makers such as Symington, R & G and Warners for example that did offer attractive fabrics, sometimes with machine or hand flossing. R & G and Warners did use steam formed corsets, bent to the shape of the “ideal” body, some of them being declared as “rustproof.”

White R & G Jean Corset with coutil bone casings

Not many antiques exist without rusting problems, but after 100 years we can forgive this!

Cleaning

Even modern corsets with stainless busks and plated or plasticised metal bones cannot be guaranteed not to rust. It is generally accepted that you can get away with light hand washing but dry cleaning is still the safest option. The difficulty with cleaning of corsets then as now, is another reason to wear a chemise or liner under the corset to minimise soiling and to clean less often. Some fashion fabrics loose their composure when washed and although corset layers should be pre-shrunk, they might still shrink at different rates when drying out………………