191:" or "corps") were intended to mold the upper torso into a rigid, cone-like shape. The earliest corsets had a wooden busk placed down the center fronts of the corsets; these early busks were different from the more modern steel busks which have clasps to facilitate opening and closing the corset from the front. Corsets of the 17th and 18th centuries were most often heavily boned, with little or no space between the bone channels. This was necessary to force the body to conform to the desired shape of the era. At the time, the most popular materials used for boning were
276:
steel boning bends easily in two directions. Spiral steel boning may thus be used in curved channels, or where a more gentle support is acceptable. Both varieties are rigid lengthwise. Modern corset makers differ greatly in the type and size of boning that they use. For those unable to procure steel boning, there are several alternative options, depending on the style of the corset desired. Cable ties (found in 36, 48 and 52 inch lengths) from a hardware store have been used by costumers.
469:
268:
515:
169:
25:
228:
261:
within casings that did not follow the placement of the corset's seams. By the 1910s, the cut of corsets had become longer, although less complex, and boning became merely a means to keep the corset's fabric taut. By the mid-1910s to 1930s, the emphasis was placed on comfort and the rigid steel boning was almost completely replaced by the more flexible spiral steel boning.
149:
Modern corset boning comes in two different qualities: the more durable metal and less durable plastic. Since the turn of the 20th century, steel boning was the standard for a high quality corset, coming in two different types: flat spring steel and spiral steel. While spring steel is most preferred
223:
and were often elaborately carved and given as gifts. It was most often the only bone within corsets of this type, as other required shaping was provided by the cut of the pattern and enhanced by cording (cotton or similar cords within casings). The cording of the early 19th-century corsets (stays)
260:
style corsets. These corsets from 1901–1908 relied heavily on the complex cut of the pattern to create and accentuate the shape. Boning was used wholly for the support of the shape created by the cut of the fabric. Bones were most commonly made of steel by this time, and were often placed in pairs
275:
Modern steel bones come in two basic varieties: "flat" steel boning (sometimes called just "enamel" or "rigid" boning) and "spiral" steel boning. Spiral boning is flattish but thicker than flat boning, because of the tips required on the ends. Flat boning bends in only one direction, while spiral
239:
The mid-19th century brought more complex corsets (no longer called stays) and tighter lacing, which required more boning to create the desired shape. The modern split busk was popular, as it allowed corsets to easily open in the front. Steel and baleen (whalebone) were the dominant materials for
153:
Traditionally, plastic boning such as
Rigilene has been considered low quality and unsupportive. New advances in plastic boning have brought about synthetic whalebone. It is used widely in historical reconstruction due to its similarities to traditional whalebone. It is lightweight and very
240:
boning and were occasionally used together. By the last quarter of the 19th century, baleen was growing increasingly more expensive and becoming more difficult to acquire. This encouraged experimentation into types of materials used for boning. Some of the most popular alternatives were
202:
The early 19th century brought a very different style of corset (still called "stays"). A return to the natural or "classical" form was embraced by fashion, and for the first time in corset history, the bust was separated. To achieve and enhance the separation of the bust, the
150:
for being thin and flexible, it only has the ability to bend in a single direction. Spiral steel is able to bend both horizontally and vertically, its only drawbacks being the fact that it's not as stable and tends to not support larger figures.
141:
from which the corset is made. The boning supports the desired shape and prevents wrinkling of the corset fabric. Bones, and the substances used for the purpose, are generically called "boning"; however, the name likely arises from the use of
255:
By the late 1890s, a lighter, shorter style of corset was becoming popular, coming in simpler shapes and using much less boning than in the previous decade. This style of corset quickly evolved into the beautifully complex early
279:
Providing a much more flexible shape, synthetic whalebone comes in a variety of sizes. 4mmx1mm is most suitable for pre-19th century stays, especially fully boned stays. 6mmx1.5 is most suitable for 19th century corsets.
414:
184:
from which the corset is made. The boning supports the desired shape and prevents wrinkling of the corset fabric. Bones, and the substances used for the purpose, are generically called boning.
394:
252:. The extremely rigid and elongated torso popular in the 1880s to early 1890s required extensive boning to support and enhance the steam-molded and starched corsets of the period.
207:" was used. The busk was essentially a large, rigid "popsicle stick"- shaped bone inserted into a casing down the center front of the corset. These busks were made from either
411:
745:
244:
strips, cording, watchspring steel, Coraline, and
Featherbone. Coraline was manufactured from the straight, stiff fibers of the
653:
89:
248:, bound together by two strands of thread wrapped in opposite directions. Featherbone was manufactured from the quills of
61:
180:
in a corset varied slightly from era to era. Generally, the cinching/shaping properties of corsetry puts strain onto the
137:
in a corset varies slightly from era to era. Generally, the cinching/shaping properties of corsetry puts strain onto the
445:
108:
68:
668:
42:
331:
355:
Lauffenburger, Julie A. (January 1993). "Baleen in Museum
Collections: Its Sources, Uses, and Identification".
188:
75:
46:
735:
730:
725:
720:
715:
694:
224:
was often very elaborate, and examples of many beautiful corded stays can be found in museum collections.
57:
638:
232:
298:
35:
658:
438:
633:
16:
Strip of rigid material used to stiffen corsets, bodices, collars, or other types of costume
643:
82:
8:
559:
551:
372:
163:
740:
684:
592:
484:
431:
306:
689:
574:
569:
364:
612:
536:
418:
390:
241:
204:
154:
supportive. It also molds better to the body, allowing for a much curvier shape.
597:
584:
709:
663:
504:
310:
257:
468:
564:
514:
423:
267:
192:
607:
602:
523:
458:
231:
English "ventilated" corset of whalebone and cotton, late 19th century (
617:
541:
376:
196:
168:
143:
368:
199:. Whalebone was the most commonly-used and most expensive material.
24:
648:
494:
249:
122:
187:
The corsets of the 16th through 18th centuries (called "stays", "
499:
489:
476:
454:
220:
181:
138:
133:
that forms its frame and gives it rigidity. The purpose of the
130:
299:"Well-Rounded: A history of corsetry, from whalebone to Lycra"
245:
227:
212:
332:"18th C. Boning Research & German Plastic Boning Review"
216:
208:
412:
Corsets at
Chicago History Museum Digital Collections
49:. Unsourced material may be challenged and removed.
357:Journal of the American Institute for Conservation
157:
707:
392:, "Corset-stiffener", issued 1883-10-16
172:Spirella side by side with a piece of flat stay
439:
354:
453:
446:
432:
329:
109:Learn how and when to remove this message
266:
226:
167:
708:
746:History of clothing (Western fashion)
427:
296:
47:adding citations to reliable sources
18:
13:
14:
757:
405:
330:Van Cleave, Kendra (2012-05-07).
513:
467:
23:
129:is one of the rigid parts of a
34:needs additional citations for
664:The Warner Brothers Corset Co.
383:
348:
323:
290:
158:Purpose, history and materials
1:
283:
7:
10:
762:
297:Lynn, Eleri (2010-11-16).
233:Victoria and Albert Museum
161:
677:
626:
583:
550:
522:
511:
474:
465:
639:Frederick's of Hollywood
272:
236:
173:
270:
230:
171:
736:20th-century fashion
731:19th-century fashion
726:18th-century fashion
721:17th-century fashion
716:16th-century fashion
627:Corset manufacturers
58:"Bone" corsetry
43:improve this article
695:Foundation garments
246:Mexican ixtle plant
176:The purpose of the
560:Corset controversy
417:2012-04-26 at the
273:
237:
174:
164:History of corsets
146:in early corsets.
703:
702:
593:Body modification
119:
118:
111:
93:
753:
585:Corset fetishism
575:Roxey Ann Caplin
570:Hourglass corset
517:
471:
448:
441:
434:
425:
424:
399:
398:
397:
393:
387:
381:
380:
352:
346:
345:
343:
342:
327:
321:
320:
318:
317:
294:
271:10mm Spiral Stay
114:
107:
103:
100:
94:
92:
51:
27:
19:
761:
760:
756:
755:
754:
752:
751:
750:
706:
705:
704:
699:
673:
622:
613:Training corset
579:
546:
532:Bone (corsetry)
518:
509:
472:
461:
452:
419:Wayback Machine
408:
403:
402:
395:
389:
388:
384:
369:10.2307/3179545
353:
349:
340:
338:
328:
324:
315:
313:
295:
291:
286:
264:
166:
160:
115:
104:
98:
95:
52:
50:
40:
28:
17:
12:
11:
5:
759:
749:
748:
743:
738:
733:
728:
723:
718:
701:
700:
698:
697:
692:
687:
681:
679:
675:
674:
672:
671:
666:
661:
656:
654:Strouse, Adler
651:
646:
641:
636:
630:
628:
624:
623:
621:
620:
615:
610:
605:
600:
598:Bondage corset
595:
589:
587:
581:
580:
578:
577:
572:
567:
562:
556:
554:
548:
547:
545:
544:
539:
534:
528:
526:
520:
519:
512:
510:
508:
507:
502:
497:
492:
487:
481:
479:
473:
466:
463:
462:
451:
450:
443:
436:
428:
422:
421:
407:
406:External links
404:
401:
400:
382:
363:(3): 213–230.
347:
322:
288:
287:
285:
282:
159:
156:
117:
116:
99:September 2013
31:
29:
22:
15:
9:
6:
4:
3:
2:
758:
747:
744:
742:
739:
737:
734:
732:
729:
727:
724:
722:
719:
717:
714:
713:
711:
696:
693:
691:
688:
686:
683:
682:
680:
676:
670:
667:
665:
662:
660:
657:
655:
652:
650:
647:
645:
642:
640:
637:
635:
632:
631:
629:
625:
619:
616:
614:
611:
609:
606:
604:
601:
599:
596:
594:
591:
590:
588:
586:
582:
576:
573:
571:
568:
566:
563:
561:
558:
557:
555:
553:
549:
543:
540:
538:
535:
533:
530:
529:
527:
525:
521:
516:
506:
505:Waist cincher
503:
501:
498:
496:
493:
491:
488:
486:
483:
482:
480:
478:
470:
464:
460:
456:
449:
444:
442:
437:
435:
430:
429:
426:
420:
416:
413:
410:
409:
391:
386:
378:
374:
370:
366:
362:
358:
351:
337:
333:
326:
312:
308:
304:
300:
293:
289:
281:
277:
269:
265:
262:
259:
253:
251:
247:
243:
234:
229:
225:
222:
218:
214:
210:
206:
200:
198:
194:
190:
185:
183:
179:
170:
165:
155:
151:
147:
145:
140:
136:
132:
128:
124:
113:
110:
102:
91:
88:
84:
81:
77:
74:
70:
67:
63:
60: –
59:
55:
54:Find sources:
48:
44:
38:
37:
32:This article
30:
26:
21:
20:
565:Metal corset
531:
524:Corsetmaking
459:corsetmaking
385:
360:
356:
350:
339:. Retrieved
335:
325:
314:. Retrieved
302:
292:
278:
274:
263:
254:
238:
201:
186:
177:
175:
152:
148:
134:
126:
120:
105:
96:
86:
79:
72:
65:
53:
41:Please help
36:verification
33:
608:Tightlacing
603:Neck corset
193:giant reeds
710:Categories
678:Categories
618:Wasp waist
542:Spoon busk
341:2018-01-23
316:2018-01-23
284:References
162:See also:
69:newspapers
669:Worcester
475:Types of
311:1091-2339
258:Edwardian
197:whalebone
144:whalebone
741:Corsetry
685:Corsetry
649:Spirella
634:Baystate
495:Corselet
415:Archived
250:feathers
123:corsetry
690:Fashion
659:Vollers
552:History
490:Corsage
455:Corsets
377:3179545
83:scholar
500:Girdle
485:Basque
477:corset
396:
375:
336:Démodé
309:
221:baleen
189:bodies
182:fabric
178:boning
139:fabric
135:boning
131:corset
85:
78:
71:
64:
56:
644:Kraus
373:JSTOR
303:Slate
219:, or
213:ivory
90:JSTOR
76:books
537:Busk
457:and
307:ISSN
242:cork
217:bone
209:wood
205:busk
127:bone
125:, a
62:news
365:doi
195:or
121:In
45:by
712::
371:.
361:32
359:.
334:.
305:.
301:.
215:,
211:,
447:e
440:t
433:v
379:.
367::
344:.
319:.
235:)
203:"
112:)
106:(
101:)
97:(
87:·
80:·
73:·
66:·
39:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
