Saturday, 7 November 2015

17th century stays and boned bodices, part 2

Part 1 can be found here.
Stays after 1650

Salmon pink stays, 1660-1680 at V&A. Made out of ten pattern pieces, giving it a slightly more curvaceous shape than earlier stays and making the waist more round rather than oval. One layer of watered silk and one layer herringbone weave linen, possibly ticking, bound with silk grosgrain ribbon. Laced in front over a boned, T-shaped stomacher. The boning channels are stitched with silk and boned with whalebones. Ten skirts with six gores inserted between the front ones. The gores are not boned. The stays are not lined, but the seams are covered on the inside with silk grosgrain ribbon. 3/4 -length sleeves are attached with ribbons to the shoulder straps. Though they are more advanced in cut than previous stays and probably also made in a different country, they still have similar construction method.

Silk and wool stays, dated 1671-1680. The front is covered with silk brocade and decorated with silver gilt braid and spangles. The back is covered with blue wool and it is lined with linen.

Yellow silk stays, either late 17th century or early 18th century. The cut of stays didn’t change abruptly at the turning of the century and it is difficult to say exactly on which side of 1700 they were made. These are covered in silk, making the boning channels invisiböe and is decorated with silver lace.


Boned bodices

The 1630´s ivory silk slashed bodice in V&A has a boned lining, but it is different from other extant bodices. It is open in the front it is probably that there was originally a stomacher as well. The foundation is built from several layers of buckram and linen canvas, reinforced, not fully boned, with whalebones. The boning is wider than in other extant stays and bodices, about 12 mm and in the back the boning is put in horizontally. It also differs from other bodices in that it cut above the waist and has no tabs, which is in keeping with the current fashion which had a raised waist.


Pale-coloured silk satin bodice, 1660-1669, V&A. Decorated with parchment lace. The boned foundations is made from twelve pattern pieces, reinforced at places with up to three extra layers of linen. The middle side panel is unboned but stiffened with buckram and wool and may be a later addition to increase the size. The foundation is made by two layers of linen and has ten skirts. Boned with whalebone, at the back are four horizontal bones placed on top of the vertical ones. A pocket for a busk is placed at the center front. Lined with ikat woven silk.

Green silk bodice, Museum of London, 1650-1670. Decorated with silver bobbin lace and silver alloy spangles and heavily boned.


Silver tissue gown with a boned bodice from the 1660’s, Fashion Museum, Bath. Photo by Ludi Ling

Iron stays

Several iron stays have been preserved, most of them dating to the decades before and after 1600. They are usually rather elaborate and elegant in shape, the metal perforated in patterns and the shape follow the form a fashionable female torso should possess; a cone. When worn they would have been padded on the inside and covered with fabric, making them a bit more comfortable than they look at the first glance. Their purpose is not completely clear though and there are more than one theory to their function.

Iron corset, 1580-1599, York Castle Museum

The rigidity of their shape could have served a medical purpose, like correcting scoliosis. Children were certainly fitted with stays to correct mis-happen body’s and it is not impossible that grown women could be in need of corrective help as well. It is also known that Eleonora of Toledo, who suffered from rheumatism and tuberculosis, had metal stays made for her, They were not listed among her clothes, which indicate that they were used for medical purposes.

They could also have been worn as an expression of piety, an unyielding sister to the hair shirt, that a noble woman could wear for religious reasons while at the same time retaining a fashionable shape. It is also possible that the extreme rigidity could be something sought after for the most ceremonial and formal occasions. A woman in full court wear was a display, an ornament or a showcase of wealth and then iron stays may have provided the perfect frame for it. They must have been quite heavy to wear but considering the weight of a farthingale, several  petticoats and a heavily decorated gown, perhaps the extra weight of a metal corset wasn’t too much of a burden, especially if they were just worn for special occasions.

Anonymous, Elizabeth Vernon, Countess of Southampton, c. 1600

Despite the small sample material and the difficulty in finding information, some conclusions about stays and boned bodices can be drawn. Hopefully there will one day be more in-depth research on the subject which undoubtedly would provide more and better information than this short article can provide.

  • Stays and boned bodices in the 17th century moulded the figure. The pattern pieces fit like a jigsaw puzzle, making the stays two-dimensional. Later, in the 18th century seams started to curve on each other, creating a garment that to some extent adapted to the female body’s natural curves. In the 17th century it was the body which had to adapt to the stays, pushing the breast up and stomach down.
  • Stays and boned bodices were always fully boned and the boning channels, when they can be seen, are vertical. There is one exception to this; the ivory, slashed satin bodice in V&A. Apart from this example, stays and bodices both from the early and the late 17th century are heavily boned.
  • The shoulder straps on the stays are placed in correspondence to how the fashionable neckline was cut. The Effigy stays have shoulder straps that cover the shoulders as fashion dictated in 1603, later stays have straps that are off the shoulders.
  • Stays from the first half of the 17th century are front-laced, both with or without a separate stomacher. They have few pattern pieces.
  • Stays from the second half are a bit more varied. There are the front-laced stays from V&A, which has a stomacher and attached sleeves. Most of the extant stays are back-laced, however, and they are covered so the boning channels are invisible. The front are decorated and sometimes the fabric that covers the front is more expensive than the fabric in the back. Stays are made of several pattern pieces.
  • All extant boned bodices, apart from the slashed satin one, are back-laced. They too are constructed from several pattern pieces. Most of the extant stays are decorated and/or covered with expensive fabric, indicating that they were meant to be visible and not solely regarded as foundations underwear. Stays with attachable sleeves further blur the line between stays and bodice.

Gerard ter Borch, The Concert, 1655


Arnold, Janet Patterns of Fashion: Englishwomen's Dresses & Their Construction, London: MacMillan, 1977

Arnold, Janet Patterns of Fashion: The Cut and Construction of Clothes For Men and Women c1560-1620, London: Macmillan, 1985

Arnold, Janet “The ‘pair of straight bodies’ and ‘a pair of drawers’ dating from 1603 which Clothe the Effigy of Queen Elizabeth I in Westminster Abbey”, Costume, vol 41, 2007

Hammar, Britta & Rasmussen, Pernilla Underkläder: En kulturhistoria, Stockholm, Signum, 2008

Kunzle, David Fashion and Fetishism: Corset, Tight-lacing and Other Forms of Body-sculpture, New ed., Stroud : Sutton, 2004

North, Susan & Tiramani, Jenny (ed.) Seventeenth-century women's dress patterns. Book 1, London : V & A Publishing, 2011

North, Susan & Tiramani, Jenny (ed.) Seventeenth-century women's dress patterns. Book 2, London : V & A Publishing, 2012

Pietsch, Johannes Die Kostümsammlung Hüpsch im Hessischen Landesmuseum Darmstadt, Bestandskatalog der Männer- und Frauenkleidungsstücke; Studien zu Material, Technik und Geschichte der Bekleidung im 17. Jahrhundert, The Hüpsch Costume Collection in the Hessisches Landesmuseum Darmstadt, 2008

Ribeiro, Aileen Fashion and fiction: Dress In Art and Literature in Stuart England, New Haven: Yale University Press, 2005

Sorge-English, Lynn Stays and Body Image In London: The Staymaking Trade, 1680-1810, London: Pickering & Chatto, 2011.

Steele, Valerie The Corset: A Cultural History, New Haven; Yale University Press, 2001
Wiseman, Richard Several chirurgical treatises, London, Flesher, 1676

Online sources

To Stay or Not to Stay..., Anèa Costume

Tuesday, 3 November 2015

17th century stays and boned bodices, part 1

This article was first published at Foundations Revealed in April 2015. Due to length and amount of picture, this article will be posted in two parts here.


Pieter de Hooch, Mother Lacing Her Bodice Beside A Cradle, 1659-1660
17th century stays is a rather neglected subject  in fashion history and little have been written about it. There are also very few remaining examples of stays and boned bodices and even fewer of those have been properly analyzed. This article will take a brief look at the history of stays and discuss a few extant garments to see if any conclusions can be drawn on how they were constructed. The focus will be on the upper classes and examples in text relate to Northern Europe in general even if the extant garments described are mostly from Great Britain.

Interesting and related topics like staymaking as a trade, critique against stay wearing and how stays were worn by different social classes will only lightly be touched upon. I am not mentioning kirtles either. In the 17th century stays could also be called a pair of bodies, a straight pair of bodies or a pair of stays, but for ease I use stays throughout the text.
A brief history of 17th century stays and fashion
Stays emerge in fashion history in the late 16th century though the exact dates and evolution process are not known. By the beginning of the  17th century stiffened stays were an indispensable garment in the upper class woman’s wardrobe. It is important, however, to remember that stays served more than one purpose. The most obvious one being to shape the body into a fashionable shape, a foundation to which the clothes were fitted. But they also served as breast support and they served a moral purpose. A female body in stays were a decent body. Stays could also be used for medical purposes, especially for children, both girls and boys, were laced into stays to ensure that they grew straight.
English School, Portrait of A Lady, 1610-1615
In the early 17th century women’s fashion were rigid and very formal. The bodice had a long narrow waist, large ruffs were still worn and so was the cumbersome farthingale. Around 1620 fashion grew less formal, and the waist crept up above its natural place.

Anthony van Dyck, Anne Sophia, Countess of Carnavon, 17th century
The high waisted fashion were quite temporary, though, in the 1640’s the waist was once again in its natural place. At the same time the boned bodice became popular, they were essentially stays covered in fabric and with sleeves permanently sewn in, making them both stays and bodice at the same time. With some variations this fashion kept up until the 1680’s. The gowns were less decorated than in the early 17th century and necklines were near or off the shoulders.
Even if the boned bodice seems to have been extremely popular, ordinary stays were still worn. Some types of garments, like riding habits, needed stays as they were not boned. There were also a growing trade of ready-made stays for the lower classes who did not rely on the boned bodice in the same way. Sweden started to import ready-made stays in 1667, for example.

In the 1670’s the mantua became a popular fashion. It was a gown that got its shape from being pleated around the body and now separate stays really came into their own. The boned bodice remained for formal wear,but the mantua kept its popularity throughout the rest of the century.

Gabriel Metsu, Woman Playing Viola de gamba, 1663
By the second half of 17th century, stays were worn by all classes and even a working woman could own more than one pair. In 1662 a maid in the Finish town Viborg, had three pairs stolen from her and in Sweden in 1684, simple stays were part of a female servant’s salary. As a result, stays were made for all classes. Upper class stays was constructed from linen canvas, buckram and silk, stiffened with whalebone and perhaps also paste and paper. For the lower classes stays were made from linen, wool or leather. Whalebones could be used in less expensive stays, but they could also be stiffened with reed, cane or pack-thread (hemp-cord). Leather stays may not have needed additional boning to give support. The lower classes could purchase their stays ready-made or second hand while the upper classes bought bespoke stays where the staymaker visited the customer’s homes to take measurements and fit the stays.

Simon Dequoy, Anne de Souvré, 1695

Stays had become an essential garment for women of all stations in life even if material and rigidity changed after the user’s need. A few years into the 18th century, in 1712, a leather bodice with a stomacher, valued to 2 s,8 d (modern value around £10) was seen as part of the clothing minimum for girls in a London charity school, indicating that it was seen as must even for society’s poorest members. Between 1684 and 1700 the records of Old Bailey lists stays as stolen property twenty-nine times. The value of them varies a lot, the cheapest are valued to 2 shilling, the most expensive ones 40. That means that stays were quite expensive, in modern pricing they would range between £8-160. Material is more rarely noted, one pair is made of stuff, usually a wool fabric and then made of silk.
In the beginning of the 17th century stay were made by the tailor, but gradually staymaking became a trade in its own right, in France, for example, that happened in 1660. Making stays were considered a man’s work, just as tailoring clothes was and even when women, in the last quarter of the century, got the right to sew clothes for their own sex, staymaking continued to be a man’s trade.

In 1688, The Academy of Armory and Blazon (Book III) describes the construction of stays with great detail. They are made of seven pattern pieces, the back, the side parts and the fore parts and the shoulder straps. Stays can be open in the front or in the back. If laced in the front then there is also the stomacher that goes under the lacing. The stomacher has a pocket for the busk, a flat piece of wood, horn, whalebone, metal or ivory that help to push the breasts up and the tummy down. The busk was often richly decorated. The boning channels are marked on the pattern pieces before they are stitched down. Whalebone is cut to size and inserted.The bottom of the stays have skirts, tabs. Stays are lined with fustian or linen and the edges are bound. The lacing holes are whipstitched. The laces have metal tags at the ends to keep from fraying. When the stays are finished, the are covered in the fabric of the gown and sleeves are attached.

Bernhard Keil, The Lacemaker, after 1660

Stays before 1650

Stays are difficult to date and there a few guidelines on how they evolved. As of now only three pairs of stays known to still exist that can be dated between 1600-1650. The oldest is known as the Effigy stays in Westminster Abbey. They were found on the effigy of Elizabeth I and was probably made for her funeral in 1603 by her tailor John Colt. They are very simple and the stays the Queen wore were covered in silk or satin. The Effigy stays are made of double layers of twill fustian and are bound with green leather. The boning channels are stitched with linen thread and it is laced in the front with twenty-nine pairs of lacing holes. They are made from three patterns pieces (the lining has four) and the side-back seam is slightly curved. They are long-waisted and the front deeps down in a peak. They are boned with whalebones.

Crimson stays at Manchester Galleries. Photo by Annika Windahl Pontén
Crimson stays, 1638-1650s The Gallery of Costumes, Platt Hall. Cut from four pattern pieces, but the seam at the center back is straight and may be a result from an effort to save fabric, not because it is necessary to have a seam there. Made from one layer of crimson silk satin and one of herringbone weave linen and bound with pale blue silk ribbon. Laced in the front over a stomacher. Boning channels sewn in pale blue silk thread. The center front is shallower and more rounded than on the Effigy stays. Six skirts with two unboned gores inserted between the skirts at the front. The seams are covered with wide metal lace.

The Sittingbourne stays were found under the floorboards of an old inn and are dated to 1620-1640. They are dated to 16 and are made of linen twill, or possibly fustian. They are front-laced and made from three pattern pieces, bound with leather. The shoulder straps are cut off the shoulder. The stays are worn and patched and have evidently been in heavy use. They have five skirts and the front goes down into a shallow peak. There is no armscye, from the high back panel the top is a straight line and it is possible that they would not encase the breasts much, if at all. Perhaps they would have looked similar to this painting were the breast support seems to be the shift as it is pressed against the bosom with the help of the stays.

Anonymous, Rich Man and Lazarus, c. 1610

Sunday, 4 October 2015

Coloured cap and coloured hair powder

I made a coloured 18th century cap earlier this year, but haven't got around to take photos until now. This kind of cap is called "bindmössa" in Sweden and in the 18th century it could be both soft or clued on a stiff frame. The stiff version is very common in Swedish traditional costumes today. The patterns is from Duran Textiles. The fabric is a remnant of silk brocade from the 1940's, something I found among my grandmother's sewing stuff. The pleated cotton lace is not a whole cap, but just a pieces tacked to the brim. In Sweden this is called "stycke", which means just piece. Originally two caps were worn, a white and a coloured one, but in the 18th century the under cap had been reduced to the small part that actually showed.

I also made my third tête mutton hairstyle. I've written a little about it here. This time Itried my yellow hair powder. Not for the powdering before-styling, but after to the hair was done to spruce it up. As I thought it gets more of yellow tint than blinding yellowness.

Not visible, but I also tried out my 18th century perfume, Aqua Mellis, The King's Honeywater for the first time. It has been left to mature for a year and it smells really lovely now. Very soft and you had to come very close to sense it, but lovely. A sort of spicy citrus. There is no honey in it at all.


Monday, 28 September 2015

Fontange caps

High on my wish list is a 1690-1710 mantilla and with that I would need a fontange cap. This rather absurd cap fashion became popular during the 1680’s and remained popular until the 1710’s, or so. It was usually paired with a high hairstyle, confusingly enough usually called a fontange hairstyle. To be technical the fontange was the ribbons on the cap, the high pleated frill was called a frelange. As it rose higher and higher it was supported by a wire construction called commode.

The only extant fontange cap, as far as i know, is actually worn by a doll, known as Lady Clapham. V&A describes it like this:

Circular doll's cap consisting of the cap, wire and ribbon. The cap is made of spotted lawn edged in English bobbin lace which falls into two lappets on either side of the face. It has a graduated double frill ('Monte la haut'), a narrower frill in front and a taller frill behind. The frill is supported by a wire covered in muslin formed in a semi-circle with eight radiating spokes graduating to the highest in the centre. The cap is circled with pink silk taffeta ribbon which is twisted about the cap, and is tied in two bows and lined with brown silk. The ribbon is padded in between and sewn to a cotton band which forms a base to attach to the doll's head. The cap is secured by a linen cord drawn through the back breadth.

Victoria & Albert
Unfortunately no one seems to have made a proper pattern.
If you look at art, the standing frill seems to have been done rather differently. 
Anne de Souvré, marquise de Louvois by Simon Dequoy, 1695

16Mme Roig, née Theresa Gazanyola, unknown artist, 1699

María Luisa Gabriela de Saboya by Miguel Jacinto Meléndez, 1712-1714

Unknown widow, ca 1690

Maria Anna of Pfalz-Neuburg by Godfried Schalcken, 1690 
Go to the web page to be able to zoom in.

Marchioness Angela Maria Lombardi, unknown artist, ca 1710

Recueil des modes de la cour de France, 'Femme de qualité, en d'Eshabillé d'Esté' by Nicholas Arnout, 1687
I’m making a modified version of two layers of fine white linen and lace made by my grandmother.

Monday, 7 September 2015

What I'm working on

I haven’t posted much this year because I haven’t sewn much. All the joy in sewing just disappeared and it was only this summer it started to return. But I’ve actually finished something:
A 1940’s style handbag (still in need of a last ironing). It will match an unlined coat which is halfway done.

I’ve also started an embroidery project, which will probably take some time:

The pattern is from a jacket in V&A, only that one is embroidered in silver. I’m taking a liberty in using blue silk thread, but it’s a period correct thread; Gilt Sylke Twist in Popyngay.
I’m also working on a working pattern for a pair of 17th century stays.Merging my shape with the patterns for the pink stays with sleeves from V&A are a bit of a trial. I’m on toile number three now, but I’m going to make it in cardboard as the fit seems fine but I want to make sure all the angles work. I also plan to make a mantilla. I don’t need more projects, I know, but the extant mantilla I have the pattern from is dated to 1690-1710 which would give me a quick 17th century appropriate garment and also one that doesn’t required more than token lacing. Also, I found a white/silver brocade at Pure Silks that I had to have… (The black is also for the mantilla, the pink taffeta for a 17th century petticoat.) I need to tweak the pattern a bit, though.
And I’m making a fontange cap to go with it. Not a very big one and a chance to use some of the lace my grandmother made. Next step is pleating the standing part and attach it to the cap.

Add caption

Wednesday, 26 August 2015

Working women in late 18th century Sweden

It’s not quite true that I haven’t been sewing this year, I have worked on a couple of small cap and embroidery projects. But that is just about what my energy level has been up to. I haven’t blogged much either, but hopefully both sewing and blogging will work better for me now. So I thought you would be interested in seeing some of Pehr Hilleström’s (1732-1816) painting of working women I have seen this summer. Most were seen at an exhibition at Sven-Harry’s art museum and two at Julitta manor house. The picture quality is reflected by the fact that most were taken with my mobile phone.
Some of you may remember that one of my costuming pet peeves is when a garment is dismissed just because it wasn’t worn at one particular place. The costume world is, for good reasons, turned toward England, France and North America, but there are a number of regional clothing differences and the working woman’s clothes often reflected that. For example, the dreaded sleeveless bodice and shift combo, was actually a perfectly acceptable for a peasant woman in Sweden during the 18th century. And coloured caps were also worn, something I was once told didn’t exist during the 1700s. This laundress is wearing a bodice that seems unboned and a simple shift. Her blue cap is what in Sweden is known as a “bindmössa”. It’s a cap made of a coloured, often expensive fabric and in the 18th century it could cover the whole hair or just be placed on the back of the head. It often was (and is) stiffened. It’s still an important feature in many Swedish traditional costume. Originally this cap was worn over a white linen cap, but in the 18th century the cap was worn on it’s own. It could, however, be worn with a “stycke” (meaning piece) made of fine linen or lace and attached to the cap in a way which made it look like a separate cap was worn underneath. A ribbon bow was often attached to the back of the cap.

A "bindmössa" could be worn by the middle classes as well. Bellamn mentions the rather wealthy Madame Bergström who is wearing a cap made of  green silk moiré and  decorated with silver lace. Underneath the cap she is wearing a "stycke" On the picture below you can't see much of the actual cap, but you can see the "stycke"

This woman has very nice cuffs, I Think. She's not wearnig a cap, but a "klut", a neckerchief folded into a triangle and wrapped around the head.
As is this woman

Another bodice, this one clearly unboned. There are several extant ones and they range from being completely unboned, having bones in strategic placed up to half-boned.
Of course white caps were worn as well

These close-ups are from a large painting showing a party outside Svartsjö castle, showing a variety of clothes. Lots of stripes!


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