1790-1810 ca. Jane Austen Style White Linen Shift Or Chemise, American. #RegencyEra #JaneAusten #underclothing https://books2read.com/SuziLoveFashion1810-1814
Continue reading →1784-1826 ca. Woman’s Under Dress. White high-waisted underdress with drawstrings at neck and waist, narrow shoulder straps, back tie closure, embroidered with large scale scrolling floral motifs with meandering vine and bands of dots along the bottom edge. The type of underdress worn by Jane Austen’s female friends and family. via Museum of Fine Arts, Boston, U.S.A. mfa.org
1770-1790 ca. Child’s Stays, American. Linen plain weave, baleen, or whalebone, silk braided tape. Dimensions: Center Front Length: 5 3/4 inches (14.6 cm) Waist: 18 inches (45.7 cm). Made in United States of America. This pair of stays is only eighteen inches around, and might have been worn by a small child of eighteen months to two years old. Putting stays on young girls and boys was not seen as harsh, but rather as insurance that their figures would develop the correct form, with chest out and shoulders down. While boys usually wore stays only in early childhood, they were considered essential for females throughout their lives. via Philadelphia Museum of Art philamuseum.org Accession Number: 1988-15-1 Credit Line: Purchased with the Bloomfield Moore Fund, 198
1770-1790 ca. Stays, or Corset, English. Pink silk damask, lined with linen, reinforced with whalebone, fingers spread over hips. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk. https://books2read.com/SuziLoveCorsetBook15
These silk stays have a small repeat floral brocade in rose, white, and green. There are cream, leather-backed waist tabs, stitched eyelets, and pink and tan linings. These stays, or corset, are unusual because they have both front and back lacings. This means that a lady could step in and out of her stays and then tighten the front lacing herself, thereby eliminating the need for assistance from a maid or dresser.
Women of the middle and lower classes needed to be able to dress themselves as they have no one to assist in tightening their lacings when they dressed. Most upper class ladies would be able to call upon a maid to help and would therefore generally use back lacing stays.
1790-1810 ca. Linen and Metal Corset, American Or European. Front Lacing. #Corset #RegencyEra #GeorgianEra #JaneAusten. https://books2read.com/SuziLoveCorsetBook16
Continue reading →18th Century Late – 19th Century Early Bodice and Corset Ensemble, European. Cranberry silk faille with polychrome floral brocade, the square-neck bodice having folded front collar, narrow double breast and short sleeve with pleated and pointed cuff, peplum back. Corset front pieced with cranberry brocade and a tan dotted sawtooth stripe, the back in a similar dotted stripe. Both pieces trimmed in aqua ribbon and lined in linen. via Whitaker Auctions. whitakerauction.smugmug.com
There has been some discussion on the names for Corset Makers. I’ve seen lots of names, including Stay Maker, Stay Manufacturer, Corset Maker, Body Tailor and Milliner. It was mainly men who were Stay Makers, but there were also some women who included stay making with their millinery.
Corsets Overview History Notes Nonfiction Book 14. This book shows how body wraps, stays, and corsets were worn to create a variety of fashionable silhouettes through past centuries. Corsets flattened breasts and accentuated rounded hips or pushed up breasts and showed off the bust line depending on the fashions of the time and the desired silhouette. Includes corsets through the Georgian, Regency, Victorian and Edwardian Eras and Jane Austen’s lifetime. Overview of corsets through history, including the Georgian, Regency, Victorian and Edwardian Eras and Jane Austen’s lifetime.
1715-1790 ca. Miniature Sable Pocketbook, France. Glass beads strung on linen, or sablé, woven silk and metallic binding. Miniature envelope-style pocketbook. Polychrome opaque and translucent glass beads strung with linen thread, held together by interlocking looping stitches, or sablé. Designs on white ground, cupid shooting arrow at blue and red hearts. Borbon arms surmounted by coronet, red heart with five keys. Gilt-galloon binding. Blue silk taffeta lining. Cardboard foundation. via Museum of Fine Arts, Boston. mfa.org
