Part 2: Corsets
This is Part 2 of a series on the various layers in Renaissance clothing. The focus is on European clothing, specifically English, French and Spanish dress. If you have not read Part 1: Underwear please click on the appropriate link.
During the 16th and early 17th centuries, three separate accessories dictated the shape of fashion specifically for women and secondarily for men. These were the corset, the farthingale or hoop skirt, and the ruff. It comes as a surprise to many people that the farthingale and the corset, so obvious in their influence on female fashions, should also be credited with influencing male fashions during this time period. The attenuated waist of the mens doublet and jerkin, often stiffened and sometimes boned, echoes the female bodice shape very nicely. Some gentlemen, particularly older men, wore a manly corset, to control the stomach area. Paned slops or pumpkin pants and their direct descendants also echo the bell shape of the female skirt.
For women, during this time period, the corset and farthingale, known as underpinnings, are what give the body the proper period shape. These two garments are almost indispensable for modern re-enactors who want to achieve that classic shaped line. I say almost because, as with everything, there are exceptions.
The corset (also known as a paire of bodyes, bodies, or bodice) of the 16th century had its beginnings in the wide, stiffened belts or girdles worn in the 15th century. The constriction of the waist during the latter part of the 15th century can be seen in any number of paintings from the period. The shaping of the body at this time was also accomplished by tightly laced cote hardies. In combination with the wide, stiff girdles, the body shape produced was the precursor to the shapes of the 16th century.
The corset, as we think of it, first made its appearance around the turn of the century. Around this time, the ideal of the body shape became stiff, flat and cylindrical. In order to accomplish this shape, the corset evolved from the stiffened girdles and tightly laced cote hardies into its own piece of clothing. The insertion of any number of stiffening agents such as reeds or bents, and later whalebone, into quilted channels gave the corset its stiffness and also its name.
During this period the corset is most often referred to as a paire of bodyes. The word bodice comes from this time period as well. The French term for the corset was "corps piqué" or quilted body. The word corset probably can be most literally translated as little bodies or little bodice.
While no period patterns have been found for corsets, there are literary listings for the corset. Specifically, Mary Tudor's wardrobe accounts list one "pair of bodies" made of crimson satin. Unfortunately, only two complete corsets from this time period still exist.
The first is German, discussed in detail in Janet Arnold's, Patterns of Fashion 1560-1620. This corset, or pair of bodies, is made of two layers of off-white fabric, the outer shell of silk and the lining of satin. There is also an interior layer, sandwiched between the shell and lining for further stiffness. The corset has quilted channels into which reeds were inserted. There are tabs at the waist, as well as small eyelets at the waistline through which the farthingale, or stiffened hoop skirt, could be fastened to the corset. It also had straps going over the shoulder and a pocket in the middle front for a busk.
The busk was a long, flat piece of ivory or wood, often elaborately decorated, which helped smooth the front and keep the stomach under control. It was usually tied into the pocket to keep it in place. The lace that tied the busk in place was considered an intimate favor and given as tokens to lovers. This little lace is the ancestor of the tiny bow attached to the front of modern bras.
The other surviving corset is from the effigy of Queen Elizabeth in Westminster Abbey. These garments were examined by Janet Arnold and considered by her to be fairly contemporary to the time period. The book, The Funeral Effigies of Westminster Abbey, by Anthony Harvey and published by Boydell & Brewer contains photographs of this corset and is due out sometime this year.
Corsets were usually made from linen or silk with the interior layer of a heavier linen or even buckram. Corsets did not have to be plain and white. Mary Tudor's crimson bodies, as well as the beautiful photograph of a later period corset in the book Fashion in Detail show that corsets could also be brightly colored and decorated.
The placement of the lacing closure is open for some debate. The effigy corset example laces up the front while the German corset example laces up the back. It can be theorized that Italian corsets, forming a much softer line, might have been laced up either one or both of the side seams. Since these were cut on the bias, this would allow for more of the body's natural shape than from garments laced on the straight of grain.
Lastly, here are some words of advice for making your own corset. Since this garment is going to be very near your skin (you should wear a smock between it and your body), make it out of natural fiber fabrics. This will allow your body to sweat and breath, something that is very necessary if you live in a warmer climate. Before you make any outer garments, make your corset and then take your measurements while wearing it. The corset changes the shape and size of the torso in amazing ways! For boning, avoid Ridgeline; it is simply too limp to do the job. Excellent sources for steel stays or boning can be found at Lacis online and at Greenberg & Hammer, also online.
Finally, avoid metal grommets. This is most important. Metal grommets require that you cut a hole in the fabric to insert them. When this is done, the structure of the fabric is compromised and eventually, the grommet will tear out, no matter what you do. Rather than use metal grommets, purchase a tailors awl and sew the grommets by hand. Janet Arnold's Patterns of Fashion has some great detail photographs of hand bound eyelet holes and, surprisingly, these are much easier to make than fussing with the metal grommets.
Coming next issue - Part III: A Discussion of Farthingales
