Pink brocade Au Royal corset

Spain. c.1911-1913. An early 1910's longline corset made from bow patterned pink brocade. Although it does not have any brand stamp, it does have the same model number (T- 54 and E/5) and maker's pencil marks as two other Au Royal corsets from Madrid, Spain in the collection. Au Royal Corsets were based at 13, Fuencarral, 15- Madrid.



The top of the corset is edged in a wide band of finely made lace trim with pink silk ribbon inserts ending with a bow at the front. The front busk is curved which is slightly unusual for the 1910's but more common in European corsets than in North American longline corsets.



Although longline corsets were cut straighter and gave less waist reduction than earlier Edwardian corset gave, some early 1910's corsets still utilized diagonal seaming to give the body shaping. This model of corset uses an unusual placement of diagonal seams with the seams running towards the back rather than to the front. The corset is not lined and only the bottom inside edge is bound in twill tape.


The corset is boned with 18 spring steel bones, most of which are pre-curved to fit the figure better and shorten the breaking in time for a corset. The bottom front of the corset's skirt fastens with a hook and eye under the busk. The busk also has an ornate pointed busk hook sewn on top of the material. These are often seen on European corsets and were used to anchor the waistbands of petticoats, etc underneath it to stop them from riding up and creating bulk at the waist. Their second use was if you tied the excess ends of the corset lacing around your waist, you could anchor them underneath this hook to also prevent additional items at the waist.

Au Royal diagonal seam corset

The busk is fairly unusual for 1910's corsets as it is curved, most busks by this date are straight. The busk also has a ornate busk hook slotted into it to anchor down excess corset lacing and the waistbands of petticoats. The front bottom of the corset fastens with 3 sets of hook and eyes. Although this corset is typical of 1910's corsets with it's high waist placement and fashionable long line shape, it has two unusual features.



C.1910. A drab sateen corset made by Au Royal Corset 13 Fuencarral, 15. Madrid. The high, heart shaped bustline is covered in beige colored silk satin with a wide 4 3/4" band of scalloped lace trimming the top of the corset. Peach silk baby ribbon is threaded through the ribbon slots in the lace and a peach silk rosette (now shattering from age), decorates the top of the busk.



Most 1910' corsets have straight seams or some diagonal seaming left over from the S-bend styles of the early Edwardian era. This particular corset has diagonal and curved seams running to the back and front. The seams on this corset look like a cross between the backwards running seams of the late Victorian Y&N Diagonal Seam corset and the forward running seams of a typical early 1900's S-bend corset. The unusual seaming on this corset gives a more pronounced hourglass figure yet still retaining the slim fashionable lines of the 1910's. The second unusual feature on this corset are the metal loops sewn on the right hip. These were meant to attach stocking suspenders to but the lack of any on the left side is a mystery.


The corset is boned with whalebone along with flat side steels. The back steels are curved to follow the lines of the figure which allows for a smoother and comfortable fit. Silk flossing strengthen and decorates each bone casing.

Baleinage Extra "Ariston" along with the model number of 1800 is stamped in purple ink on the inside. The corset is not lined.
Measurements: Bust 32", Waist 22", Hips 35", Busk length 12", Front length 17 3/4", Back length 19".

Abdominal Corset

 
England. c.1910. A creme coutil lady's abdomen corset belt. These were worn by pregnant women as an alternative to the maternity corset, by women after surgery/pregnancy or by plus sized ladies who needed extra abdominal support. Elastic panels at the sides provided comfort while the


cotton twill belt provided the needed support and fit. The abdomen corset is boned with watchspring and adjusts like a regular corset at the back with lacing. There is decorative flossing on the bone casing in an effort to relieve the surgical starkness and add some femininity. Shell buttons placed around the corset enabled the wearer to button her petticoats and pantaloons to the corset.
Measurements: Waist 30".

Extremely Long 1910s corset

 
United States. c.1911-1912. A white longline corset made out of white coutil and trimmed with a band of scalloped lace around the top in which baby ribbon can be inserted. This corset is much longer than most 1910's corsets were made and dates to approximately when hobble skirts were in fashion. It is so long that on a woman with a height of 5'9", it would end at the upper mid thigh .area and would be even longer on a woman of shorter statue.

The corset still has some vestigial elements of early Edwardian corsetry such as a heart shaped bust which had been popular on turn of the century corsets and the use of diagonal seams with a long straight busk, a remnant from S bend corsets. The corset also has a waist which is nipped in more than most 1910's corsets found giving the wearer a more hourglass shape than a tubular shape.
The small waist paired up with the diagonal seaming, long, straight busk and extremely long hips, would have given the wearer a an elongated S bend shape. A sort of happy medium between the exaggerated S-bend shape of the turn of the century and the straight tubular shape of the 1910's.

The corset is not lined and is boned with flexible watchspring. The corset is old store stock and was never worn.

Measurements: Bust 26", Waist 17 1/2" although it is stamped as being 18", Hips 30 1/2", Front length 15 1/4", Back length 20", Busk length 11".

La Reine Cluny Lace corset

England. c.1922. A lightweight corset made out of panels of white cotton Cluny lace possibly made by Symington's (Market Harborough, Leicestershire). The corset is lightly bonedwith most of the figure support coming from the
horizontal bands of white cotton twill tapes although the bone casings are made up of white sateen. the corset only has two stocking suspenders and there is no evidence that it ever had anymore.
The cotton twill tape on the inside has "The La Reine Corset Qual. X. Patent no. 13336 17 Rustless and Fibress Back Supports".
Measurements: Underbust 26 1/2", Waist 23 1/2", Hips 30", Busk length 8 1/4".

M&K Hip Confiner corset

United States. c.1910-1914. A white coutil hip confiner corset made by the M & K Corset Company (Jackson, Mich.). This minimalist style of corset was popular with slender women who did not need the full support of or want to wear a longline corset. On a thin lady, it would have given light waist reduction and minimized the hips to that she could wear the newly fashionable narrow, tubular skirts. The hips are still deeply cut and shaped like the hips seen on an Edwardian S-bend corset. It was also an early form of the stocking suspender belt.
The corset has a short busk front and laces up the back. The only boning (watchspring boning) is found at the back on each side of the grommet holes.
Measurements: Waist 22", Busk length 7".

A. Simon corset

France. c.1911-1914. A pink coutil longline corset made in France by A. Simon (Paris).
The corset is fairly unusual in the fact it has a curved busk and that it is boned with whalebone. Curved busks, although common in the Victorian era, feel out of favor during the
 
early Edwardian era when the straight fronted corsets became fashionable. Longline corsets almost always used a straight busk so perhaps this was made for an older lady who was used to the curved busks of her youth? Whalebone was also very expensive and hard to obtain by the 1910's as whales had been hunted to near extinction so this would have been a very expensive corset to purchase although recycled whalebone from old corsets may have been used.
Pink "X" shape flossing decorated the bottom of most of the bone channels. The bottom front of the skirt fastens with hooks and eyes below the busk. A wide band of lace trim decorates the top edge of the corset while a pink silk bow and pink silk baby ribbon add a degree of softness to such a rigid structure. The corset is not lined but has contrasting white cotton twill bone casings and a cotton twill waist tape on the inside. The waist tape has "Garanti tout Baleine" on one side and "A. Simon ses corsets Btes S.G.O.G" on the other side.
Measurements: Underbust 27", Waist 22", Hips 33 1/2", Busk length 10".

H & W maternity corset

Produced from 1910-1913. A white coutil maternity corset made by the H & W Co (Newark, New Jersey) in the longline style fashionable during the 1910's. In 1914 however, the design for this model changed and became shoter in the bust and longer in the hip. This corset has a very high bust for breast support and is boned with very flexible, thin and narrow watchspring bones. Five sets of lacing allow the corset to expand as the "bump" grew and give perfect fit and support. The corset is not lined and has a button front closure back with a long flexible steel instead of a traditional busk front closure. The regular busk option was available however.

Contrary to popular belief, maternity corsets were not worn for tightlacing but for body support. During early pregnancy before a noticeable bump formed, it could be worn as a regular corset but then once the figure changed and grew larger, the corset could be let out easily. After the birth, a maternity corset could be worn to regain the figure once more.

An original 1913 advertisement for this corset describes it as such:
"The H. & W. (Marmo) Maternity Corset Waist gives a trim and stylish figure without the slightest endangerment to the well-being of either the mother or child. Soft and pliable with lacings on either side, adjustable to the comfort of the wearer. All steels removable. Particularly desirable in convalescence or after surgical operations. Buttons or clasp front. sizes 20 to 36: Price $2.00 at all dealers or sent prepaid on receipt of price."
Measurements: Bust 30 1/2", Waist 23", Hips 36", Length 15 1/2".

1860s red wool corset

c.1860- 1864. A pair of stays or corset depending on the original owner's knowledge of fashionable parlance, made from itchy bright red wool and lined in white cotton coutil.

Petticoats, cage crinolines Red wool became fashionable for undergarments at the end of the 1850's was used for and corsets. Although fashionable in color, the stays would have been quite unfashionable in construction with the use of shoulder straps, large triangular bust and hip gussets as well as having a closed front instead of a split busk. This pair of stays would have used a long, rigid busk made from ivory, wood, metal or whalebone inserted into the front slot of the corset. The fashion historians, C. Willett and Phillis Cunnington, cite a source from the early 1860's complaining that "the old- fashioned stays are still too generally worn" and "often of red flannel, boned".

The corset is shorter in length than earlier stays had been and has an hourglass shape which would remain in fashion for the rest of the 19th century. Although the corset uses less boning than later Victorian corsets use, the whalebone used in this corset is incredibly rigid and thick that it would make for a rather unyielding set of stays. The corset is machine sewn and the edges of the corset are bound in red wool tape.

The grommets are made from brass and are placed in an off-set pattern which means that the spiral lacing pattern was used. This, along with the fact that there was no front opening busk, meant that the original wearer would have needed help to put the corset on by herself.
Measurements: Bust 36", Waist 28", Hips 36", Front busk length 13 1/2".

Transitional 1830s Cotton Drill Stays

C.1837 - 1845. A rare set of transitional stays dating from the late Regency- early Victorian period. This set of stays or corset, depending on the wearer's knowledge of fashionable parlance, marks the transitional period between long soft bodied stays and the hourglass corset of the second half of the 19th century.

 

The stays are made from white cotton drill and are lined in plain white cotton. The corset is entirely handmade with neat and even sewing using "back stitching" technique. Triangular gussets, which are typical in mid 19th century corsetry, are seen at the bust and the hips. The corset is not boned but has slots with "button holes" on the inside, in which to insert boning. There is a bone channel on the middle of each breast and in a "V" shape at the back. A wider channel is seen at the front of the corset to allow the wearer to insert a stiff wooden or bone busk. Having bone channels in which the boning could be inserted and removed at will, allowed the wearer to adjust the amount of stiffness in the corset according to the level of activity (i.e. more bones in the corset for formal occasions or have the bones completely removed for housework duties). It also allowed for easy laundering.
Although this corset has a more pronounced hourglass shape than early 19th century long line stays had, it retains elements from the Regency era yet foreshadows the coming curvier Victorian styles. The body of the corset has a semi-elongated shape with the front skirt of the corset coming down below the abdomen, common for early 1800's stays. The actual indentation of the waist ends higher than natural waist level. The waist level on this corset sits just under the "V" points of the bust gussets, a waist level placement typical of late Regency stays, however, the flared bustline and pinched in waist gives the figure a curvier shape than earlier stays had.
Measurements: Bust 33", Waist 23", Hips 28", Front busk length 13".

Homemade linen stays

c.1840-1860. A pair of homemade stays made from thick, homespun linen cloth and were most likely made and worn by a poorer or labouring class woman (like a farmer's wife).
They are old fashioned in shape, cut and style, more reminiscent of the Regency era than the Victorian era but this time lag is common in the poorer classes' clothing.
The front laces up which is a sign that the lady was of a poorer class and had no help to dress herself and there is a hidden button up pocket on the inside to perhaps conceal valuables or money? The stays have numerous repairs and patches, especially to the underarm area where the edge of the stays would have had continuous rubbing from use. The shoulder straps are a later addition or replacement, probably made in the 1860's as they are machine sewn but there is evidence that the stays did originally have shoulder straps as well.
The early construction and repairs of the corset are all done by hand but later additions and repairs are done with treadle machine stitches which shows that this pair must have been worn over a long period of time. They do not have any boning, but figure support is achieved with long long strips of linen all around the body. Decorative hand sewn zig zag stitches remain on some of the strips while on some of the strips a later attempt at sewing zig zag patterns by treadle machine is seen.
There is not a dramatic bust/waist/hip ratio on these stays as they would have been worn for support only. There is evidence, however, that the waist waist was taken in to 25" and then let out to 27" once again.
Measurements: Bust 32", Waist 27", Hips 32", length 13 1/2" (not including shoulder straps).

1860s short corset

c.1868- 1870. A light drab batiste shorter style corset of the later 1860's.
During the brief "Empire" line fashion of the late 1860's, corsets became shorter to reflect this passing fashion. According to C. Willett and Phillis Cunnington, shorter length corsets remained popular until the mid 1870's when a longer corset was needed for the newly
fashionable cuirass bodice.
The corset does not have a extreme bust/waist ratio as later 19th century corsets would have as a full crinoline or crinolette supported skirt would have been worn which would have made the waist look smaller in comparison. It provides vert little hip support or reduction as this area of the body would have been camouflaged by a crinoline/crinolette. The main action of this short corset was to support the bust and give a slightly higher waistline typical of the later 1860's.
This corset is boned with cane and is not lined. The front fastens with a short, curved busk.
Measurements: Bust 31 1/2", Waist 24", Hips 31 1/2", Busk length 8 1/2".

C.1750 Child's stays with detachable sleeves

Children's clothing from the 18th century is rarely found as most was worn out or discarded over the years. Fortunately this wonderful garment was saved and is a very rare example of soft stays with the original detachable sleeves.
You can see that the stays were carefully fashioned to use every bit of fabric from earlier recycled garments. The back is made from very fine silk brocade from about 1700 -1720. The front panels are made from carefully positioned brocade from about 1740-50.
The sleeves were meant to be laced at the top and buttoned below the elbow (buttons are now missing). Stays were laced up the back. Silk ribbon ties remain on the upper portion of the sleeves.
The interior of the stays and sleeves are lined with fine linen and the tabs around the hem are lined with silk. Sleeves are trimmed with the original silk fly fringe and remnants of needlerun silk lace. French or English in origin.
Measurements: 14" shoulder to hem, 24" bust, 20" waist.
From the collection of V.J. Willis

Cotton Twill Stays Corsets

c.1830-1840. A pair of stays made of cotton twill and lined in what appears to be a lightweight linen. There are 15 sets of bone eyelets down the back (known as French holes), three of which are missing. These have been neatly repaired with handsewn eyelets. The shoulder straps have French holes has well and adjust with ties.
The corset is not boned, but lightly corded and has a pocket for a busk. A long, straight busk of whalebone, ivory or wood (most often ornately decorated) would have originally been inserted into the pocket.
The shaping of the corset is quite elongated and would have been used more to smooth out the figure than to emphasize the waist. The gussets are quite deep, they would have provided for a more rounded figure than the extremely pushed up bust look that accompanied the Empire waisted dresses of previous decades. Diagonal seams and hip gussets shape the torso. This pair of stays shows the slow move towards making corsets from pre- shaped pieces which would become prevalent in the Victorian era.
Measurements: Bust 24", Waist 21", Hips 27", Busk length 13".

Corset 1786 stays

c.1786 pair of stays made from brown cotton and lined in natural homespun linen.
Stays of the 18th century were conical in shape and gave the wearer a pinched in waist and a full, pushed up bustline. They were very stiff being heavily boned with whalebone or cane and many women complained of bruising under the arms and at the waist from the sheer rigidity of the stays.
This pair of stays originally had shoulder straps which would have supported the bust while the tabs at the bottom of the corset would have adjusted to the shape of the hips and allowed for movement while the rest of the upper body was firmly corsetted. They are boned with 68 pieces of whalebone.
The stays are completely handsewn and have handworked eyelet holes at the back for the lacing. Bands of light blue linen tape provide decoration for the stays. There is a note written in ink pinned inside the stays which reads, "Grand Mother's stays when she was 17 years old. Her maiden name was Elizabeth Baker. She married Captain Jacob Coatie when she was 17. She died in 1849 aged 80 years. Elizabeth Baker Coatie, b. 1769 - d. 1849" She was probably was the wife of a New England sea captain.
Measurements: Bust 29", Waist 21", Front length 12 1/2", Back length 16 1/2".

1740 stays Corset

United States

c.1740-1760 stays made from natural homespun linen. Stays of the 18th century were conical in shape and gave the wearer a pinched in waist and a full, pushed up bustline. They were very stiff being heavily boned with whalebone or cane and many women complained of bruising under the arms and at the waist from the sheer rigidity of the stays.
Boned with 120 pieces of baleen boning which were inserted into hand sewn one quarter inch channels. The characteristic white leather binding held the baleen bones in place while protecting the wearer should one poke through the linen. Leather also reinforced the 8 pair of eyelet holes from the tension of the laces. The center 6 eyelet pairs are offset, allowing the stays to be laced up the back in a single lace, spiral fashion. The tabs at the bottom of the stays would have adjusted to the shape of the hips and allowed for movement while the rest of the upper body was firmly corsetted.
Measurements: Bust 33", Waist 26", Front length 12 1/2", Back length 14 3/4".

1830s Corset stays with blue embroidery

United States

c.1830 stays made from creme cotton sateen and lined in a natural muslin.
Soft stays of the early 19th century were not worn so much for a dramatic waist reduction but to give the body a long flowing line underneath the high waisted dresses of the era. Early 19th century stays lifted up the bustline and compressed the waist and hips into a narrower "tube" like shape so that a high waisted gown would fall unencumbered down from the high waistline.
Although waistlines were still comparatively high in the 1830's, the waist level on stays and dresses during this decade started to drop down very slowly to the natural level foreshadowing the hourglass figure of the Victorian era.
Stays from the first part of the 19th century often had a wide, vertical center slot in which a long, straight busk made out of wood, ivory or whalebone (often highly decorated with cavings or poems) which could be inserted into the center slot for support. Busks were not always worn and could be removed easily according to your activity. Generally busks were worn for formal or evening functions and taken out for leisure.
This pair is completely hand stitched and have cotton cording inserted into the narrow channels to give structure to the undergarment. The surface embroidery is worked with a teal blue floss in both satin stitch and tambour stitch.
The stays were never worn and were never finished as there are no eyelet holes present and the bottom edge was never finished off.
Measurements: Bust 33"-36", Waist 23"- 26", Front length 16".
From the collection of K. Augusta

1828 Trapunto work stays

United States

c.1828. A pair of creme cotton stays most likely worn by a young lady. Soft stays of the early 19th century were not worn so much for a dramatic waist reduction but to give the body a long flowing line underneath the high waisted dresses of the era. Early 19th century stays lifted up the bustline and compressed the waist and hips into a narrower "tube" like shape so that a high waisted gown would fall unencumbered down from the high waistline.
Stays from the first part of the 19th century often had a wide, vertical center slot in which a long, straight busk made out of wood, ivory or whalebone (often highly decorated with cavings or poems) which could be inserted into the center slot for support. Busks were not always worn and could be removed easily according to your activity. Generally busks were worn for formal or evening functions and taken out for leisure.
This pair has trapunto work for support arranged in an attractive geometric pattern. Trapunto work was often used in Regency stays for figure support and decoration and was made by inserting length of wool as the channel was being sewn not like in later corsets were the bones are inserted into the bone casings after they are sewn. The stays are entirely handsewn with back stitching and have ivory grommets (called French holes) at the back for the lacing.
Measurements: Bust 28", Waist 22", Hips 26", Busk length 13 1/2".
From the collection of L. Hidic

Corset Galleries

On this page you will find links to galleries of corset images on the web.

• Staylace Corset Galleries.
• mmmm-corsets – a Tumblr gallery primarily corsets, but some other gorgeous things too.
• FairyGothMother / Lulu and Lush Corset Image Competition.
• Corset Fan Galleries
• Corset Galleries
• The Antique Corset Gallery
• The FairyGothMother / Lulu and Lush Customer Gallery (not just corsets but retro dresses, lingerie and lots more.)

Corset Resources

This page lists corset information websites covering all aspects of corsets and corsetry from historical information through to today’s fashion designers and how the corset has become the must have item in every woman’s wardrobe through to how to wear…

• The Long Island Staylace Association (L.I.S.A) – USA based website featuring many corset images plus corset features.
• Corset.dk – Danish corset enthusiast’s website.
• www.corsetiere.net – a tribute to the corsetiere.
• The Corsetorium – the corset webring.
• korsett.org
• BBC Corset page – a BBC webpage about corstes created by its readers.
• corsets.de – corsetry website in der deutschen and English.
• www.corsetinformation.com – lots of information and advice about Victorian shape corsets and tightlacing.
• V&A – London’s Victoria and Albert Museum’s fashion section.
• a V&A video:: Underwear: from corsets to bullet bras and back.
• CorsetStyles
• Foundations Revealed
• KorsettForum.de (In der deutschen)
• Corset Lovers Corner (Yahoo group)
• Corset information website (En français and in English)

Fake Designer Corsets – how good are they?

We’ve all seen them on online auction sites and on some online shops, those “corsets” at ridiculously low prices. Well here’s an interesting video comparing these “fakes” with the real thing. How the corsets differ in how they are made and what sort of body shaping you can expect from both the fake and the real thing. After watching the video we thought the vrdeo’s title could just as easily been… Fake Designer Corsets – how really bad they are!
I copy the video here courtesy of FairyGothMother and Kiss me Deadly who collaborated in the making of the video.