Elizabethan Corsetry – What We Think We Know

Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Definition
of
Terms:
Bodies
(also
known
as
“pair
of
bodies”
or
“payre
of
bodies”)
–
Bodies
were
often
referred
to
in
pairs,
as
they
were
ostensibly
constructed
in
two
halves
to
form
a
single
garment.
The
term
“bodies”
is
also
used
to
refer
to
the
outer
upper
body
garment,
more
commonly
known
as
a
“bodice”,
so
it
is
sometimes
difficult
to
discern
from
wardrobe
accounts
what
is
an
undergarment
and
what
is
an
outer
garment.
The
accompaniment
of
sleeves
and
skirts
of
some
entries
seems
to
argue
for
an
outer
garment,
whereas
“paires
of
bodies”
listed
alone
and
not
in
context
with
sleeves
and/or
skirts
is
taken
to
mean
an
under
garment.1
Drea
Leed
references
one
of
the
earliest
entries
(1550s)
for
a
supposed
supportive
undergarment
in
the
wardrobe
accounts
of
Mary
I:
“*
Item
for
making
of
one
peire
of
bodies
of
crymsen
satin
*
Item
for
making
two
pairs
of
bodies
for
petticoats
of
crymsen
satin
*
Item
for
making
a
pair
of
bodies
for
a
Verthingall
of
crymsen
Grosgrain”
(http://www.elizabethancostume.net/corsets/history.html)
By
the
1590s,
there
is
a
distinction
between
bodies
(bodices)
and
French
bodies
(theoretical
proto‐corsets),
determined
by
the
reference
of
stiffening
agents
(see
section
on
stiffening
agents
for
further
detail).
Arnold
speculates
that
the
term
“French
bodies”
derives
from
an
early
French
fashion
for
quilted
or
stitched
bodices,
and
further
ventures
that
“the
idea
of
putting
strips
of
whalebone
between
the
rows
of
stitching
may
have
originated
in
France.”
(QEWU,
p.
147)
Stays
–
A
term
most
commonly
in
use
from
the
17th
century
through
the
18th
century.
In
the
16th
century,
stays
were
strips
of
fabric
used
to
secure
the
pleats
of
loose
gowns.2
References
to
“stays”
as
supportive
garments
do
not
appear
until
early
in
the
17th
century,
however
the
term
may
well
have
existed
in
the
late
16th
century..3
Corset
–
Modern
term
for
a
supportive
undergarment.
The
term
“corsett”
dates
as
far
back
as
the
13th
century,
but
refers
to
an
close
fitted
outer
garment.4
Cotgrave
defines
“corset”
as
“A
French
term
for
a
little
body,
also
a
paire
of
bodies
(for
a
woman)”5.
Despite
Cotgrave’s
definition
in
1611,
the
term
as
applied
to
underwear
does
not
appear
to
be
in
use
again
before
1795
C.E..
Due
to
the
convenience
of
the
term
and
its
understood
definition,
it
is
by
far
the
most
popular
word
to
describe
a
close‐fitting
article
of
clothing
used
to
shape
the
body
under
the
clothing.
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Elizabeth
Vernon,
Countess
of
Southampton,
unknown
artist
c.
1600.
“Woman
at
her
toilet”,
French
School,
early
17th
century.
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Stiffening
Agents:
Velvet
pair
of
bodies
of
Eleanora
di
Toledo,
1562.
The
earliest
extant
example
of
a
supportive
undergarment
has
no
discernable
stiffening.
The
burial
gown
of
Eleanor
di
Toledo,
buried
in
1562
C.E.,
was
accompanied
by
what
is
widely
regarded
as
a
“pair
of
bodies”.
It
is
a
close
fitting
bodice,
lacking
sleeves,
made
of
velvet
and
lined
in
linen.
It
has
a
hook
and
eye
fastening
up
the
center
front,
and
has
small
gores
set
into
the
side
seams
to
facilitate
the
fit
of
the
garment
over
the
waist
and
hips.
Between
1562
and
1590,
no
further
extant
pairs
of
bodies
in
Europe
are
known
of,
however
the
development
of
the
bodies
can
be
traced
through
wardrobe
accounts
and,
in
later
years,
portraits
of
ladies
en
déshabillé.
Arnold
references
an
inventory
listing
in
1583
of
a
“payre
of
bodyes
of
blake
vellat
lined
with
canvas
styffenid
with
buckeram
drawen
oute
with
white
sipers.”
(QEWU,
p.
146)
Buckram
seems
to
be
the
preferred
stiffening
method
in
these
early
corsets,
but
no
reference
as
to
how
the
buckram
was
sewn
to
the
fabric
exists.
It
could
have
been
sewn
to
the
bodice
in
places,
or
as
an
entire
interlining.
Other
stiffening
agents
that
begin
to
show
up
in
inventories
from
1580‐1600
are
whalebone
and
reed.
The
supposed
earliest
reference
to
whalebone
used
in
corsetry
is
1577,
in
an
account
by
Jerome
Lippomano
of
the
“inconceivably
narrow
waists”
of
French
women.
He
goes
on:
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
“They
swell
out
their
gowns
from
the
waist
downwards
by
whaleboned
stuffs
and
vertugadins,
which
increases
the
elegance
of
their
figures.”
(QEWU,
p.
147)
However,
it
is
worth
noting
that
Lippomano
distinguishes
between
“whaleboned
stuffs”,
categorizing
it
alongside
“vertugadins”
(farthingales)
as
something
worn
below
the
waist,
and
then
moves
on
to
describe
that,
“Over
the
chemise
they
wear
a
corset
of
bodice,
that
they
call
a
‘corps
pique’,
which
makes
their
shape
more
delicate
and
slender.
It
is
fastened
behind
which
helps
to
show
off
the
form
of
the
bust.”
(QEWU,
p.
147)
It
is
therefore
probable
that
the
“whalebone
stuffs”
is
not
referring
to
the
“corps
pique”,
or
corset,
but
to
skirt
supports.
It
is
worth
noting
that
the
‘corps
pique’
is
described
as
fastening
in
the
back;
extant
pairs
of
bodies
show
both
front
and
back
lacing,
as
well
as
hook
and
eyes
as
(perhaps
regional)
variations.
Twenty
years
after
Lippomano’s
account,
the
famous
“mad
girl”
whose
rant
was
recorded
for
posterity
in
1597,
screams
out
to
the
demon
who
has
possessed
her
that
her
“French
bodie,
not
of
whale
bone,
for
that
is
not
stiff
enough,
but
of
horne
for
that
will
hold
it
out,
it
shall
come,
to
keepe
in
my
belly…
My
lad
I
will
have
a
busk
of
Whalebone,
it
shall
be
tyed
with
two
silke
Points,
and
I
will
have
a
drawn
wrought
stomacher
imbroidered
with
golde,
finer
than
thine.”
(QEWU,
p.
146‐7)
Here
are
references
to
both
whalebone
and
horn
as
stiffening
agents
in
a
pair
of
bodies,
and
a
busk
of
whalebone
to
further
control
the
figure.
Reed,
or
bents,
are
also
evidenced
as
stiffening
agents
in
supportive
garments.
An
extant
example
of
a
linen
pair
of
bodies,
dated
to
the
early
17th
century,
still
shows
bundles
of
thin
reed
put
into
boning
channels.6
Arnold
cites
a
warrant
in
1582
for
the
use
of
reeds
as
stiffening
in
a
pair
of
bodies.
7
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Left:
Munich
Bodies,
Bayerisches
Nationalmuseum;
Right:
Effigy
Bodies,
Westminster
Abbey.
The
final
two
extant
pairs
of
bodies
from
the
late
16th
and
early
17th
centuries
are
known
as
the
“Munich
Bodies”,
which
is
dated
to
1598,
and
the
“Effigy
Bodies”
(aka,
“the
effigy
corset”),
dated
to
1603.
These
two
pairs
of
bodies
are
distinctly
different
in
style
and
construction,
though
they
are
near
contemporaries.
The
Munich
example
was
salvaged
from
the
burial
clothing
of
Pfalzgrafin
Dorothea
Sabina
von
Neuberg.
It
features
a
back
lacing
closure,
integral
shoulder
straps,
and
a
unique
boning
configuration
that
leaves
the
“cups”
of
the
breast
area
unboned.
It
also
has
a
busk
channel
sewn
down
the
center
front.
Neither
the
busk,
the
original
stiffening
(said
to
be
whalebone),
nor
the
lining
survive.
The
Effigy
example
was
found
dressed
on
an
effigy
of
Queen
Elizabeth
I,
and
initially
was
supposed
to
have
been
of
18th
century
origin
owing
to
the
silhouette
and
construction
of
the
garment,
which
closely
resembled
18th
century
corsetry.
Janet
Arnold
analyzed
the
garment
and
was
able
to
verify
that
it
was,
in
fact,
made
specifically
for
the
effigy
in
1603,
and
could
very
well
have
been
based
off
of
dimensions
of
pairs
of
bodies
worn
by
Elizabeth
prior
to
her
death.
8
The
Effigy
bodies
is
made
from
fustian,
and
fully
boned
with
whalebone.
It
has
shoulder
straps
that
are
integral
to
the
back
piece
of
the
corset
and
fasten
over
the
shoulder
to
the
front
of
the
corset,
allowing
for
some
adjustment
in
fit.
It
also
is
front
lacing,
and
does
not
feature
a
busk.
Practical
application
The
earliest
forms
of
supportive
garments
were
most
likely
unstiffened
and
relied
on
multiple
closely
fitted
layers
to
achieve
the
ideal
conical
shape
of
the
Tudor
era.
For
all
but
the
most
hardcore
reenactors,
this
is
impractical
owing
to
the
weight
of
so
many
garments
as
well
as
the
health
risk
of
wearing
so
many
layers
outdoors
in
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
the
heat
of
a
California
summer.
Therefore,
most
female
reenactors
opt
for
some
form
of
corsetry
for
the
bulk
of
16th
century
costumes,
despite
there
being
very
little
evidence
of
stiffened
“corsets”
until
extremely
late
in
the
century.
This
eliminates
a
number
of
likely
layers
and
allows
for
the
correct
silhouette.
The
two
most
widely
copied
styles
of
bodies
are
the
Munich
and
Effigy
bodies.
The
Munich
bodies
is
a
strictly
supportive
garment
and
does
not
offer
much
waist
reduction,
as
it
ends
at
the
natural
waist
and
the
tabs
are
unboned
and
therefore
do
not
aid
in
lengthening
the
torso.
The
Effigy
bodies
are
becoming
a
popular
choice
for
those
who
want
a
more
exaggerated
silhouette,
typical
of
the
1560s‐1590s,
as
they
offer
a
modicum
of
waist
reduction
owning
to
the
boned
tabs
extending
past
the
natural
waist.
The
Effigy
bodies
also
raise
the
breasts
considerably
higher
than
the
Munich
bodies
(which
tend
to
compress
the
breasts,
rather
than
lift
them),
which
some
women
find
more
comfortable.
Both
styles
of
bodies
are
patterned
out
in
The
Tudor
Tailor,
including
construction
notes,
though
graphed
examples
of
both
patterns
have
existed
online
for
the
better
part
of
a
decade,
and
have
been
detailed
in
other
books
such
as
Corsets
&
Crinolines,
and
Patterns
of
Fashion:
1560‐1620.
Experiments
with
different
forms
of
stiffening
agents
among
costumers
have
resulted
in
a
plethora
of
options
for
boning.
I
have
personally
used
the
following
with
great
results
on
all
types
of
figures:
o Reed
(1/4”
half
round
reed,
doubled
in
each
channel.
My
current
favorite.
Nigh
indestructible
and
very
supportive
and
comfortable)
o Bundles
of
bents
(more
fragile
than
reed,
and
difficult
to
stuff
into
boning
channels,
but
offers
good
support)
o Cable
ties
(my
long
time
favorite,
before
I
became
a
reed
convert.
3/8”
jumbo
ties
come
in
34”
lengths
and
packages
of
10
at
Home
Depot
and
can
be
cut
down
with
a
pair
of
scissors.
Very
supportive,
sturdy
and
washable).
o Hemp
cord
(not
a
personal
favorite,
but
popular
among
those
who
want
a
less
rigid
support
garment)
o Trimmer
line
(in
between
reed
and
hemp
in
stiffness.
Plastic,
so
is
easy
to
cut
and
obtain
from
Home
Depot)
o Steel
boning
(the
grand
dame
of
corsetry.
Expensive,
difficult
to
obtain
–mail
order,
or
Lacis
if
you
live
within
driving
distance
–
and
can
be
cut
with
pliers,
but
needs
to
be
tipped
in
some
way
after
cutting
to
prevent
the
raw
edges
from
poking
through
the
fabric
of
the
corset)
Fabric
Choices
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
In
period,
bodies
were
generally
made
from
fustian,
tightly
woven
linen
such
as
canvas,
and
then
faced
with
a
fancier
fabric
such
as
satin
or
velvet
and
lined
with
taffeta,
linen
or
fustian.
I
typically
construct
my
corsets
in
4
layers,
from
the
bottom
up:
1. Linen
base
layer
2. Canvas
or
coutil
inner
layer
3. Canvas
or
coutil
inner
layer
4. Outer
fabric
(can
be
fancy
or
functional)
The
purpose
of
the
canvas/coutil
double
inner
layers
is
for
stiffness
and
to
prevent
the
boning
from
working
its
way
out
of
the
boning
channel
over
time
and
poking
through
the
fabric.
It
doesn’t
always
prevent
the
boning
from
popping
out,
particularly
after
a
few
years,
but
it
mitigates
the
problem
better
than
otherwise.
For
the
Effigy
bodies,
modern
women
may
find
it
much
more
comfortable
to
shorten
the
point
of
the
corset
a
good
four
to
five
inches.
For
those
not
used
to
sitting
down
with
legs
open,
the
point
will
dig
into
your
thigh
and
you
will
end
up
with
a
painful
bruise
from
all
the
jabbing
(voice
of
experience,
here).
Fully
boned
or
half‐boned
Half‐boned
Effigy
bodies
Fully
boned
Effigy
bodies
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Half‐boned
means
just
that
–
for
every
one
channel
that
is
boned,
the
one
next
to
it
will
be
unboned.
Half‐boned
stays
were
common
in
the
18th
century,
but
no
evidence
of
them
exists
in
the
16th
century.
That
said,
it
is
a
concession
that
some
costumers
like
to
make
in
terms
of
cost
and
comfort.
Half‐boned
corsets
can
allow
for
more
airflow
in
hot
temperatures,
which
can
make
them
more
comfortable
to
wear
during
the
summer.
However,
they
are
not
designed
to
take
as
much
strain
as
a
fully
boned
corset,
so
they
should
not
be
made
too
tight
or
else
you
may
experience
a
corset
malfunction
(such
as
ripping
of
the
fabric).
Also,
it
is
important
to
note
that
if
you
make
a
half‐boned
corset,
you
must
still
bone
the
lacing
edges.
If
you
do
not
bone
the
lacing
edges,
you
will
find
it
difficult
to
wear.
Front
Lacing
vs.
Back
Lacing
vs.
Both
As
stated
above,
the
Munich
bodies
are
back
lacing,
while
the
Effigy
bodies
are
front
lacing.
What
are
the
merits
and
drawbacks
of
each?
Well,
for
most
people,
the
ease
of
being
able
to
lace
themselves
into
a
corset
without
help
is
a
major
deciding
factor.
I
have
to
admit
I
fall
into
the
Effigy
camp
pretty
solidly:
I
like
the
silhouette
(vanity
thy
name
is
Sarah)
and
I
like
being
able
to
dress
myself.
Often,
costumers
debate
the
merits
of
back
vs.
front
lacing
corsets
and
the
decree
has
been
that
back
lacing
allows
for
a
smoother
fit
under
a
bodice.
I
would
like
to
state
for
the
record
that
I
have
not
found
this
to
be
any
different
in
a
front
lacing
corset.
Even
with
a
small
gap
up
to
2”
at
the
top
of
the
front
lacing
corset,
I
haven’t
experienced
any
wrinkling
or
lumpiness
in
the
fit
of
my
bodices.
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Two
of
numerous
examples
of
smooth
fitting
bodices
over
front
lacing
corsets!
Front
and
back
lacing
is
not
supported
in
16th
century
documentation
on
pairs
of
bodies,
but
it
is
a
common
feature
in
corsets
from
the
17th
and
18th
centuries.
The
benefit
of
a
front
and
back
lacing
corset
is
its
adjustability.
If
your
weight
fluctuates
significantly,
this
can
be
a
big
deal.
I
recommend
front
and
back
lacing
corsets
within
two
to
three
modern
size
numbers
(or
three
to
four
inches
growth
or
loss
in
the
bust
and
waist).
Anything
over
a
four
inch
increase
in
size
will
be
uncomfortable,
and
at
that
point,
you
should
make
a
new
corset
to
fit
your
new
shape.
In
all
likelihood,
your
gowns
aren’t
fitting
comfortably
at
this
point,
anyway.
Such
is
life!
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Front,
side
and
back
views
of
a
front
and
back
lacing
Effigy
bodies,
fully
boned
in
reed.
Shoulder
straps
or
no
shoulder
straps
Again,
this
is
a
concession
made
for
modern
reenacting:
No
examples
of
pairs
of
bodies
exist
that
lack
shoulder
straps
of
some
form
or
another.
It
has
been
my
experience
that
when
wearing
the
Munich
bodies,
shoulder
straps
provide
the
essential
function
of
keeping
the
corset
from
shifting
around
or
riding
up
or
down.
Many
people
(myself
included)
have
experienced
the
discomfort
of
an
un‐tabbed
corset
without
shoulders
traps
grinding
into
the
top
of
the
hips,
or
riding
up
uncomfortably
under
the
arms.
Lacking
the
boned
tabs
of
the
Effigy
bodies,
the
shoulder
straps
on
the
Munich
bodies
prevent
this
from
happening.
The
Effigy
bodies,
however,
can
have
the
straps
omitted
as
the
boned
tabs
help
to
stabilize
the
corset
and
prevent
it
from
shifting
up
or
down
when
being
worn.
The
reason
for
omitting
the
shoulder
straps
can
be
one
of
comfort,
or
practicality.
I
wear
a
wide
variety
of
gown
styles
and
the
neckline
can
often
times
be
wider
than
that
of
the
shoulder
straps
on
the
corset.
To
eliminate
the
need
for
a
separate
corset
for
every
gown
I
make,
I
typically
opt
to
leave
off
the
shoulder
straps
and
thereby
make
the
corset
functional
for
all
my
gowns.
Hand
bound
eyelets
vs.
metal
eyelets
Metal
eyelets
do
not
appear
to
be
used
in
support
garments
in
the
16th
century.
All
extant
bodies
show
hand
bound
eyelets.
For
my
own
peace
of
mind,
I
often
use
a
metal
jump
ring,
about
the
size
of
the
hole
I’ve
poked
in
my
garment
with
an
awl,
and
button
hole
stitch
over
it.
This
is
just
an
extra
protection
for
the
lacing
holes,
as
I
have
had
hand
bound
eyelets
stretch
and
rip
over
time
with
corsets.
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Online
Resources:
http://www.elizabethancostume.net/corsets/
http://www.renaissancetailor.com/demos_corset.htm
https://www.reconstructinghistory.com/tudor‐
elizabethan.php?s=&c=8&d=115&e=&f=&g=&a=164&w=2
Bibliography
Arnold,
Janet.
Patterns
of
Fashions
4:
The
Cut
and
construction
of
linen
shirts,
smocks,
neckwear,
headwear
and
accessories
for
men
and
women
c.
1540‐1660.
London:
Macmillan,
2008.
Arnold,
Janet.
Queen
Elizabeth’s
Wardrobe
Unlock’d.
Leeds:
Maney
&
Sons,
1988.
Cotgrave,
Randle.
A
dictionarie
of
the
French
and
English
tongues,
1611,
London.
University
of
South
Carolina
Press,
1950.
Mikhaila,
Ninya
and
Jane
Malcom‐Davies.
The
Tudor
Tailor.
London:
Batsford
Ltd.,
2006
Bodies,
Stays
and
Corsets
–
A
look
at
women's
supportive
garments
in
the
16th
century
Sarah
Lorraine
[email protected]
Endnotes
1
Janet
Arnold,
Queen
Elizabeth’s
Wardrobe
Unlock’d,
“There
are
many
examples
of
a
‘pair
of
bodies’
as
a
part
of
a
kirtle
or
gown.
Walter
Fyshe,
for
example
lined
the
‘bodies
of
a
Dowche
gowne
of
blak
vellat
embrauderid
with
bewgelles’
in
1568.
“
p.
145
“The
term
‘upper
bodies’
would
seem
to
refer
to
an
outer
bodice
worn
over
the
kirtle
bodice,
as
with
the
Italian
fashion
already
described.”
p.
146
2
Arnold,
p.
145.
3
Oxford
English
Dictionary
Online,
retrieved
June
10,
2009.
“
STAYS
3.
a.
pl.
(Also
a
pair
of
stays.)
A
laced
underbodice,
stiffened
by
the
insertion
of
strips
of
whale‐bone
(sometimes
of
metal
or
wood)
worn
by
women
(sometimes
by
men)
to
give
shape
and
support
to
the
figure:
=
CORSET
2.
The
use
of
the
plural
is
due
to
the
fact
that
stays
were
originally
(as
they
still
are
usually)
made
in
two
pieces
laced
together.
1608
MIDDLETON
Trick
to
catch
Old
One
I.
i.
50
Stay
(a
thing
few
women
can
do..therefore
they
had
need
wear
stays)”
4Oxford
English
Dictionary
Online,
retrieved
June
10,
2009.
“CORSET
1.
A
close‐fitting
body‐garment;
esp.
a
laced
bodice
worn
as
an
outside
garment
by
women
in
the
middle
ages
and
still
in
many
countries;
also
a
similar
garment
formerly
worn
by
men.
1299
Wardrobe
Acct.
28
Edw.
I,
28/15,
2
corsett'
de
miniver.
1387
TREVISA
Higden
(Rolls)
II.
361
He
dede
on
a
corsette
of
Janyr.
1483
CAXTON
G.
de
la
Tour
Bviij,
This
gyse..of
these
grete
pourfyls
and
of
the
coursettys
torned
by
the
sydes.
c1530
LD.
BERNERS
Arth.
Lyt.
Bryt.”
5
Cotgrave,
A
Dictionarie
of
the
French
and
English
Tongues.
1611.
6
Arnold,
fig.
233,
p.
147
7
Arnold,
p.
147.
8
Arnold,
The
Funeral
Effigies
of
Westminster
Abbey.
SPECIAL
THANKS:
Rose
de
Le
Mans
for
providing
me
with
the
definitions
from
the
Oxford
English
Dictionary.
