Wednesday, June 5, 2013

The History of the Corset


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 this item, 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 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 corset maker and should be fitted to the individual wearer.

Fashion

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.

Medical

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.

Construction

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 whale were favoured 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, without boning.)


Corsets are held together by lacing, usually (though not always) at theback. 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. Corset and bodice lacing became a mark of class, front laced bodices being worn by women who could not afford servants.

Waist reduction

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. Many tightlacers dream of waists that are 16 inches (41 cm) and 17 inches (43 cm), but are usually 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. Symptoms of this include a slight but persistent cough, as well as 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 waist measuring 15 inches (38 cm). 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.

Corset comfort

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.

What you would be wearing







Woman's Corset, 1810-1820


When this corset was made in the decade between 1810 and 1820 for an unidentified Indiana woman, it represented the latest evolution of a garment that had been essential women’s wear for centuries. Today, the word corset conjures an image of painful tight-lacing that was endured to produce an unnaturally small waist. However, the woman who wore this garment used it simply to support her chest (the brassiere would not be invented for another century) and to confine her shift, a voluminous knee-length undergarment, so that her high-waisted dress would sit smoothly over her torso and hips. If laced correctly, the wearer would have left a gap of several inches between the back edges of the corset, preventing it from being “tight-laced.”

Even so, this early 19th-century corset was distinctly different from the variations that came before and after it. During the 1700s, women had worn heavily boned, cone-shaped corsets called stays that had flattened their chests and made their torsos triangular. By the middle of the 1800s, the corset was once again heavily reinforced with narrow bones or steels to produce a curvy, hour-glass shape that was round and full both above and below the waist. By contrast, the corset shown here was intended to produce a natural-shaped figure. Hence, it relied mainly on cotton cording rather than bone or steel to coax the wearer’s body into the desired form. The only inflexible part of this corset was a long wooden or bone insert called a busk that slipped into a pocket at the center front and could be removed for washing.

Because of its lack of boning, this type of corset could be sewn at home without great difficulty. However, making a garment that fit was more complicated. The English author of The Workwoman’s Guide, Containing Instructions to the Inexperienced in Cutting Out and Completing those Articles of Wearing Apparel, &c., Which are Usually Made at Home (1840) suggested that “with respect to the cutting out, it is recommended to those who make their own stays, to purchase a pair from an experienced stay-maker that fit perfectly well, and also a pair cut out, but not made up, so as to be a good pattern for the home-made stays.” Sturdy cotton jean or satin were the most commonly used fabrics for corsets in the early 19th century. White was the preferred color, but gray and brown were both thought to be practical for “inferior” corsets.

This tan cotton sateen corset is made to be laced up the back through nine pairs of irregularly placed bone eyelets. The shoulder straps are meant to tie in place at the front of the corset through one bone eyelet at the end of each strap and a corresponding one over each shoulder blade. The original lacing and ties are missing. Two triangular inserts of fabric called gussets provide shape and support for each side of the bust. A decorative three-leafed motif is backstitched at the lower end of each bust gusset. Another matching, inverted trefoil is centered below the bust gussets, rising from the midriff. The upper and lower edges, and the edges of the shoulder straps, are bound with dark tan twill tape.

Chronology of the Grimm Brothers

1785. Jakob Ludwig Carl Grimm is born January 4, 1785, in Hanau, Germany, son of Philipp Wilhelm Grimm (a lawyer and court official) and his wife Dorothea Grimm, née Zimmer.

1786. Wilhelm Carl Grimm is born February 24, 1786, in Hanau, Germany, son of Philipp Wilhelm Grimm and Dorothea Grimm.
The children of Philipp Wilhelm Grimm and Dorothea Grimm
  1. Friedrich Hermann Georg Grimm (1783-1784)
  2. Jakob Ludwig Carl Grimm (1785-1863)
  3. Wilhelm Carl Grimm (1786-1859)
  4. Carl Friedrich Grimm (1787-1852)
  5. Ferdinand Philipp Grimm (1788-1844)
  6. Ludwig Emil Grimm (1790-1863)
  7. Friedrich Grimm (1791-1792)
  8. Charlotte (Lotte) Amalie Hassenpflug, neé Grimm (1793-1833)
  9. Georg Eduard Grimm (1794-1795)
1791. The Grimm family moves to Steinau.



1796. Philipp Wilhelm Grimm, father of eight Grimm brothers and one Grimm sister, dies January 10, 1796, at the age of 44. Three of his nine children have preceded him in death. His oldest surviving child, Jakob, is 11 years old.

1798. Jakob and Wilhelm move to Kassel, their mother's home city, to enter secondary school. The 13 and 14 year old boys will live with an aunt.



1802. Jakob begins his study of law at the University of Marburg.

1803. Wilhelm begins his study of law at the University of Marburg.



1806. Jakob and Wilhelm, influenced by the folk poetry collection of Clemens Brentano and Achim von Arnim, Des Knaben Wunderhorn, begin to collect folktales (Märchen).

1808. Dorothea Grimm, mother of eight Grimm brothers and one Grimm sister, dies May 27, 1808, at the age of 52. In order to support his younger brothers and sister, Jakob takes a position as a librarian at Kassel. Wilhelm will follow soon.

1812. The Grimm brothers publish volume one of Kinder- und Hausmärchen (Children' and Household Tales), an unpretentious book containing 86 numbered folktales.

1814. Volume two of Kinder- und Hausmärchen appears in print, pre-dated 1815, adding 70 stories to the previous collection. This famous work will see six additional editions during the Grimms' lifetime. In its final version it will contain 200 numbered stories plus 10 "Children's Legends." It is destined to become the best known and most influential book ever created in the German language.

1816, 1818. The Grimms publish two volumes of Deutsche Sagen, a collection totalling 585 German legends.

1819. Jakob and Wilhelm Grimm receive honorary doctorates from the University of Marburg. Their scholarly work on linguistics, folklore, and medieval studies continues, resulting in many publications.

1825. Wilhelm Grimm marries Henriette Dorothea (Dortchen) Wild, who -- together with other members of her family -- had provided the Jakob and Wilhelm with many of their best folktale texts.

1829-1830. The Grimms resign their positions as librarians in Kassel and accept positions at the University of Göttingen as librarians and professors.

1837-1841. Professors Grimm join five of their university colleagues in a formal protest against a constitutional violation of Ernst August, King of Hannover. The seven professors (Die Göttinger Sieben) are fired. The Grimm brothers receive many offers for new positions, and finally accept appointments at the University of Berlin.

1842-1852. The Grimms continue their scholarly work and political activities, but finally give up their formal appointments at the University of Berlin (Jacob in 1848, Wilhelm in 1852) in order to dedicate themselves to their own studies and research.

1859. Wilhelm Grimm dies December 16, 1859, at the age of 73.

1863. Jakob Grimm dies September 20, 1863, at the age of 78.