1880s Martha Innis Young Wedding Corset
Martha Innis Young Wedding Corset, c. 1883
Locust Grove Historic Estate, C-0362C
Drastic shifts in the silhouette defined women’s garments of the late 19th century, from the later Crinoline period of the 1860s to the Bustle period of the 1870s and 1880s. From these changes in modes of dress, the undergarments which underpinned as well as sculpted these silhouettes also necessarily evolved. As Aurore Bayle-Loudet states in the book, Fashioning the Body, there existed “an intimate bond between a woman’s dress and the evolution of her undergarments”. The corset is an example of this intimate bond, long considered instrumental in shaping and in numerous instances, constricting and heavily re-shaping the female form. It received a large resurgence during this period and experienced a rapidity of change, becoming a more prominent feature in correlation to the bustle fashions that they accompanied.
Following the revolutionary invention of the lockstitch by Elias Howe in 1846 and later, the Singer Sewing Machine by Isaac Merritt Singer in 1851, other advancements in technology contributed greatly to the ability for the mass-production of corsets, making them more readily available to consumers. For instance, because of the high cost and the rarity of whalebone, corsets could instead be made out of various other more affordable and accessible materials. Stout quills of bird feathers were a preferred alternative; rattan, and cane were another substitute, and steel was often used for less expensive options. The patterning for corsets was another advancement, pattern pieces were more complex, consisting of added panels and restructured gussets that were situated in the chest and hip areas which further shaped the form. In addition, the novel of inexpensively produced metal grommets allowed for the tighter lacing of corsets at this time. All of these developments in technology added even more complexity to how the corset was constructed and the ways in which it molded the form. These period innovations also brought about new style options from a variety of companies, such as the Royal Worcester Corset Company and Bon Ton Corsets, that produced many different designs during the period. The swan-bill corset pictured in this 1879 advertisement, was created around 1876 to support the shape of the cuirass bodice that was popular during the second phase of the bustle. It consisted of a long front-fastening busk with a strong curve at the bottom that reinforced the shape of the wearer. Corsets of the 1880s tended to be longer and tighter than the corsets of the 1870s and for those who could afford the cost, they often used rich materials such as silk, satin, and brocade which were available in a variety of colors.
One can see the influence of the technologies and silhouette changes mentioned above in this picture of a wedding corset worn by Martha Innis for her marriage to William Hopkins Young on May 16, 1883 at the Reformed Church in Poughkeepsie, NY. Its closed front falls much deeper over the hips than earlier corsets of the Crinoline Period or the later wasp-waisted ones popular in the 1890s, placing it firmly in the Bustle period. Even after the development of a center front clasp closure in the 1830s, both closed fronts and clasp fronts remained in vogue until the later 19th century and as in this case, was based on personal preference of fit and style. Advanced techniques in structure at this time included the use of diagonally placed bones on the back panels of the corset that sat directly over the wearer’s shoulder blades. Once the corset was tightened, this special arrangement of boning would force the wearer’s back forward, resulting in the modish thrusting out of her chest. An example of this diagonal boning is used at the center back of the Martha Innis Young corset, along with the lace trim that was common nearly to the point of obligatory with this style. In the detail photos included here, you can also see what is called flossing, which is topstitching placed on the outside of the corset not just to add to its sleek beauty, but also to help prevent the bones from working their way up or down inside the casing. This flossing originally and customarily would have been done by hand.
Wedding corset flossing detail and
diagonal boning detail
Wedding corset front detail
Wedding corset inside detail with flossing
Martha Innis Young’s corset would have been worn with an array of other undergarments including drawers, a fitted chemise, a camisole or corset cover, as well as one or two petticoats, all of which would have been included in her trousseau. A complete bridal trousseau consisted of all the garments the bride would need for her new life with her bridegroom, and among the most important items included in it were the undergarments. In the book, The History of Underclothes by C. Willet and Phillis Cunnington, mentions an excerpt from a 1903 article written in the publication, The Lady’s Realm which offered women advice on what underclothes to include in their trousseau. The article suggested, “Pretty chemises and knickers are attractive features of a trousseau.” It further advises, “You cannot do with less than three or four pairs of corsets. Black silk batiste is charming to wear with dark dresses. Then you must have two pretty brocaded pairs for summer and evening wear.” This statement reinforces the importance that corsets held in the everyday life of a Victorian woman in defining both her societal status as well as her self-identity.
"Bride Entering the Church", Petersons Magazine, February 1884
Claremont College Digital Library