“Corsets and Crinolines” is a book containing historical summaries, corset diagrams and patterns, and collection of period letters, articles and other fashion publications directly pertaining to women’s undergarments. Written in 1954 when corsets and fluffy skirts were coming back into fashion; Ms Waugh observed how fashion trends were cyclic and discussed how small waists and big skirts came in and out of fashion 3 distinct times in history.Each of the three eras are given their own chapter:
Chapter 1 is dedicated to the 1500’s – 1670 when the pair of bodies became popular and the farthingale (the predecessor of the hoopskirt) was first seen in Spain.
Chapter 2 is from 1670 – 1800 when the stays and hoop petticoats were fashionable.
Chapter 3 is from 1800 – 1925 when the corset (as many of us know it today) were popular, as well as the crinoline (in the Victorian era) and the bustle (in the Edwardian era).
The Chapters
Each of these chapters contain a section on the history of these garments: how they came to be , how they spread in popularity, what they were made of, etc. The next section in each chapter contains references to the garments from contemporary sources – bits and pieces of people’s journals, diaries, poems and song lyrics, articles from old newspapers. One thing I found interesting is how in every era, there are people who both love and detest the fashion. One particular entry I noted was written by a man who was convinced that corsets and hoopskirts were a sin because it allowed a woman to lie about about the shape of her body – they gave the impression of a small waist and wide birthing hips until she removes the garments. I can see how that would be a disappointment, but a “sin”? That’s a bit of a catch 22 since a lady would be considered loose and indecent if she hadn’t worn this foundation gear.
The Illustrations
As far as the illustrations go, there are over 100 illustrations in this book. All illustrations are described and listed in the front of the book so you can find the page of what you’re looking for. Some of these visuals are old paintings done as far back as 1560’s, all the way up to photographs taken in the 20th century. There are portraits of ladies, caricatures and fashion/costume sketches. This book also contains a ton of patterns. Every section includes scaled-down patterns of the stays, the corsets, and the hoopskirts, true to the period, so you can make your own. Later editions of this book include a legend with every pattern, showing how much each one should be scaled up.
The Appendices
There are four appendices total: the first two are instructions on how to construct corsets and hooped skirts. The third appendix talks about “supports” (the bones) – the book touches on everything except whalebone – they discuss geese quills and cane in corsets, saplings in farthingales and steel hoops in crinolines. The fourth and last appendix is entirely dedicated to whalebone: the book explains where it comes from, (the cartilaginous jaw of the baleen whale), andthe fishing industry and its role in economy – how people reacted to the rising prices in baleen when whales became endangered. Lucy’s side note:If you have never seen what baleen looks like, watch Disney’s Finding Nemo at the part where Marlin and Dori are trapped in the whale.
Lastly, there’s a glossary of terms in the back and a pretty exhaustive index.
Who is this book for?
This is a must for fashion historians and those interested in first-hand accounts of fashion. You can buy it for the patterns, there are approximately 25 patterns included so it works out to $2 per pattern – just be aware that there are no step by step instructions.
One important thing to note is that many of the contemporary sources are in French. This isn’t a problem for me because I can somewhat read French (I read it a lot better than I speak it, anyway) but if you can only understand English then only about half of the written content of this book will be useful to you.
The cheapest place I have been able to find this book is onAmazon. You can also see select pages inside the book on the Amazon site.
Description. In this classic book, Norah Waugh explores the changing shapes of women's dress from the 1500s to the 1920s. Simple laced bodices became corsets of cane, whalebone and steel, while padding at shoulders and hips gave way to the structures of farthingales, hoops and bustles.
Corsets and Crinolines by Norah Waugh is a fascinating historical exploration of the development and impact of these iconic undergarments. It delves into the social, cultural, and technological factors that shaped their evolution.
While the word stays was used to describe the stiff fully boned garment shown above, which created that inverted triangle shape, the term corset, or corsette, referred to a supportive garment that was lightly boned or quilted.
World War I also led to more women wearing uniforms and simple cotton designs, rather than rigid designs. Overall, corsets were no longer commonly worn due to a switch to more practical types of clothing. Later on, during the post-World War II era, corsets even became a symbol of male oppression among feminists.
Not only did the corset support the bosom and idealize the figure, its status as underwear implicitly alluded to the act of undressing and making love. Paradoxically, the corset was also a sign of respectability, because it controlled the body and, by extension, the physical passions.
Corsets were one of the first mass-produced garments for women. They began to be more heavily boned in the 1840s, and the shoulder straps were eliminated. By 1850, steel boning became popular. With the advent of metal eyelets in 1827, tightlacing became possible.
Can you wear a bra with a corset? Although wearing a bra under a corset isn't necessary, there's no rule that advises against it either. While wearing an overbust corset or a bustier corset, there is no need for a bra as they support and protect your breasts.
The term "stays" was frequently used in English circa 1600 until the early twentieth century, and was used interchangeably with corset in the Renaissance. The term "jumps," deriving from the French word jupe "short jacket," referred to stays without boning, which were less structured and typically laced in the front.
Due to corsets adding pressure on the abdominal area, they can act as a girdle and in doing so, are able to help prevent abdominal hernias. However, in cases where you already have a hernia in your abdominal section, then wearing a corset can, in fact, worsen the condition.
A young woman would typically begin wearing a corset at about 15 and stay at home until she was about 18 years old during the early part of the 20th century. More young women wanted education after the war, and in the West, courtship was delayed until they were in their early to late twenties.
Early bras were either wrap-around bodices or boned, close-fitting camisoles (both worn over the corset). They were designed to hold the bust in and down against the corset, which provided upward support.
Corsets began to decline in popularity following World War I. As a result of the lack of clothing materials after the war, styles became looser and simpler. This eliminated the need for the type of corset that had been so popular among women for the past 400 years.
Throughout the Renaissance and well into the modern period, women used corsets to stabilize their breasts. The rise of the corset began in 1500s France when Anna-Wintour-of-her-day, Catherine de Medici required that every woman in her court wear one. Cathy was rumoured to dislike 'thick waists' and no one dared argue.
Constructed of steel hoops increasing in diameter towards the hem, the cage crinoline was strong enough to support wide skirts without the need for burdensome petticoats. This flexible, lighter crinoline was widely adopted, its collapsible form allowing for improved agility when worn and more compact storage.
Women were often laced so tightly their breathing was restricted leading to faintness. Compressing the abdominal organs could cause poor digestion and over time the back muscles could atrophy. In fact, long term tight lacing led to the rib cage becoming deformed.
Address: Suite 153 582 Lubowitz Walks, Port Alfredoborough, IN 72879-2838
Phone: +128413562823324
Job: IT Strategist
Hobby: Video gaming, Basketball, Web surfing, Book restoration, Jogging, Shooting, Fishing
Introduction: My name is Rev. Porsche Oberbrunner, I am a zany, graceful, talented, witty, determined, shiny, enchanting person who loves writing and wants to share my knowledge and understanding with you.
We notice you're using an ad blocker
Without advertising income, we can't keep making this site awesome for you.
