1869 Skeleton Corset

1869 skeleton corset A "skeleton corset": what an odd name. It describes a style with no fabric between the boning channels, just a few horizontal tapes to hold the bone casings all together.

The skeleton corset could be considered a part of the "ventilated" or "summer corsets" family. Mesh corsets would be another relation, and we could even consider the ribbon corset to be a member of the group aswell.

The corset that I'll be examining here is an 1869 example from my personal collection.

Examining the Skeleton Corset

The corset is made out of cotton sateen, (a common fabric for corsets at the time) and sewn with sixteen machine stitches per inch. The paper tag attached to the lacing is from Time Travelers (the company I purchased it from), there is no maker's mark on the corset.

There is staining on the top binding under the arms.

On the inside there are small remnants of what was described by Time Travelers as organza. It is quite stiff, possibly treated with glue? This was sewn to cover the spaces between the bones and is clearly a later addition as it is all done by hand. The top portion is in one piece from front to back, the bottom portion is split along the third bone from the front. It was stitched on about ¼” in from the edges all around. Also hand whipped to the very edges of the bone casings when the bone casing is in the middle of the applied layer.

Only one brass aiglet remains, the lacing is let out as far is it will go currently, and may not have been original as it is only a 1” gap. One busk hook is missing.


Front	Left side	Side

Busk hook, closeup	Side back	Back


Corset laid flat	Q161 (inventory number that was in the e-bay listing), Corset, 50.105.13 (Brooklyn Museum Number) Bklyn Museum. 1869

There is a pencil date on the inside of the zone waist: Skeleton, (Unreadable Ma***?) 1869	Brooklyn Museum's Number on the other side of the busk in ink, #17 50,105-13 1869

Construction Details

The zone waist is sewn, turned right side out and top stitched close to the edge.

The bone cases have seam allowance turned inside and top stitched on the edge of both sides, it was not sewn into a tube and turned right side out! Channels are then stitched in the bone cases. They are then stitched to the outside of the zone waist. The fold on the front three is towards the front; the back casing’s fold is towards the back.

The back eyelet piece has its seam allowance folded in and is folded over the zone waist and top stitched, then the bone channels are made. It is stitched along the fold seam as well.

The front busk casing has buttonholes at the top inside and down the front for the busk hooks and eyes. The buttonholes appear to be worked over a cord and are very even. I know that machines were being invented in the 1860’s for machine made buttonholes, but I don’t know what the finished buttonhole would look like. I would recreate them by hand since my machine does not make buttonholes that look like these.

The busk casing seam allowance is folded in and the casing is folded over the zone waist and top stitched. Then the stitching for the busk channel is made.


	The bottom binding seam allowance is folded inside. The center front edge is stitched. On one side the interior slipped when stitching, thus it was not closed all the way and the busk is peeking out.
	Then the bottom binding is sewn to the front busk casing from the channel stitching outwards. The bottom binding is then stitched over each of the bone casings, skipping over the bone channels. When the edge is reach the corner is turned and the bottom binding is stitched down the center back.
	The top binding seam allowance is folded inside. The center front edge is stitched, the corner turned and the front busk casing is completely attached to the top binding, since the busk does not go into the top binding, there is no need to do this in the two steps as with the bottom binding. The rest of the binding is sewn just like for the bottom binding.

The Busk

The busk is probably one of the most interesting aspects of this particular skeleton corset. I had never seen one like it before, so immediately started analyzing it. When I acquired the corset one of the hooks was off the busk and tied to an eye. Another hook was totally missing! Being of the inquisitive type I removed both busks and all the hooks and eyes, after all it was designed to be removed!


When I got the eyes off I could see they were stamped: Patented June 14 1864

The Patent

43.094 June 14, 1864, Improvement in Corset-Fastenings, Samuel Chapman, of New York, N. Y.

Report of the Commissioner of Patents for 1864 published in 1866, Page 555

“No 43,094 SAMUEL CHAPMAN New York, N.Y. Corset Fastening June 14 1864 After forming the pocket a transverse slot is made near one end worked as a button hole through which the busk is inserted and removed. Surrounding the busks are extensions of bands forming hooks the bands are passed laterally into the pocket through openings in the outer edges of the same prior to the insertion of the busks The busks and fastenings may consequently be removed at pleasure without ripping the pockets.

Claim A corset fastening arranged and applied with detachable mountings substantially as described.”

The busk on my corset looks slightly different from the one illustrated on the patent.

U.S. Patent 43094, removable busk and latches

U.S. Patent 43094, removable busk hook and eye

The Bones

The bones are black, dished and have a hole at the top. I have no idea why the hole is there, maybe for temporarily sewing through to keep it in place?
	Modern bone versus antique bone, front view

The dished busks	Modern bone versus antique bone, side view

The Button hole at the top of the busk	The busk sliding out.

Patterning the Corset

I used my CAD program (more on that in a bit) to print out a 1/8” grid on 11”X17” paper. This was just big enough to get the binding on it in one piece.

I placed the paper on a corkboard. Then using pushpins and sewing pins in the corners of the open areas, I secured the corset down to the corkboard. (Note: I was not pining into the corset at this point, it isn’t needed.)

I traced the outline of the zone waist first. Then I did the vertical bones, and last was the bindings. Now I did pin through the corset to show where the bones were in the zone waist and vertical bones. I also needed to use pins to hold the bonding straight and mark the location of the vertical bones. I always inserted a sewing pin through the stitching hole when doing this.

Once I had both sides traced off and properly marked I started transferring the pattern into CAD.

Transferring it into CAD (why and how)

I use a Computer Aided Drafting (CAD) system called Rhinoceros, mainly because it is the program that my husband uses to make 3D models for fun and is cheaper than AutoCAD. (If there is interest in a tutorial on using this CAD program for pattern making, comment!)

I like to use CAD because it cuts down on the amount of loose papers floating about my house, I can get very accurate lines and measuring them is a snap! I also don’t have to worry about where my Metric rulers ran off to, being an American I don’t have many metric rulers! It is also easier for me to grade patterns, not to mention scaling up those patterns by Janet Arnold and others (once scanned into the computer of course).

I don't currently have a digitizing tablet or a working scanner, so I measured each point and transferred the pattern into CAD by hand, playing connect the dots, much like you would when enlarging a graphed pattern. This was possible since it is such an easy pattern. I have had issues in the past with scanned images being skewed or distorted, so do watch out for that!

Once I had all the pieces into CAD I overlaid the two sides and equaled them out. After all, the original pattern was symmetrical, so mine should be too. I then added the seam allowance and other notations.

The completed pattern is then separated into pieces that easily print out full scale on 8 ½” X 11” paper and made into a PDF.

The Pattern

Skeleton Corset Pattern (pdf)

When you print out the pattern make sure to print at full size, not ‘fit to paper’ and there is a 1” background grid so you can check to make sure it printed out in the right scale. This is an American corset and thus was made in inches. Print all 6 pages and tile them together as shown.

The Black lines are the actual shapes of the pieces as they stand today. This includes the intersection of the bone casings and the zone waist.

A black arrow indicates grain.

The blue lines are cutting lines; the seam allowance does not go all the way around all the pieces. All the casings terminate into the bindings and the zone terminates into the front and back pieces, so now seam allowance is needed there.

Green is the boning channels, only shown on one side. And the busk buttonholes.

Red is the stitching for the ‘organza’ layer that was added later, also only shown on one side

Skeleton Corsets: a brief history

The earliest example I found of a "Ventilating Corset" is Castle's Patent in England 1859.

We have had submitted to us for inspection, " Castle's patent ventilating corset," put forward by the honse of Messrs. Salomans and Co., of "Old Change, City, the sole manufactnrers. The patent is applicable to corsets of the most approved kinds, with or without front fastenings.

Perfect ventilation and equalization of the temperature of the body are secured by means of innumerable eyelet holes, let into every part of the corset where there is stitching or the coutil is double; tho corset is so completely perforated as to give it the appearance of a sieve. The ventilating corset is peculiarly designed for equestrian exercise, the ball-room, and warm climates.—Spectator.

We can credit David H. Fanning of Royal Worcester with making the Skeleton corset widely available to the American public, although he did not get the idea to the Patent Office first.

“The “skeleton” corset, without fabric between the bones, with a waistband made of scrim, was one of his first inventions. Marshall Field soon placed large orders, and the model became extremely popular in the late 1860’s”

The World’s Corset King - The Bon Ton Corset Shop’s 60^th Anniversary by Newton A. Fuessle New Outlook, Volume May 18, 1921, Page 117

The first U.S. Skeleton Corset patent 60,428 December 11, 1866 Improvement in Corsets, was granted to Clementine D. Rutherford of Brooklyn, N. Y. Her patent shows the vertical bones connected at the bust, waist and hips with straight strips. There are diagonal straps over the bust. The actual wording in this patent is not Skeleton Corset but “corset of skeleton or open form.”
The next patent that resembles the Skeleton style comes from Thomas. S. Gilbert of Birmingham Connecticut in 1870. The tern Skeleton Corset does not appear in the text and truthfully this has some differences to true Skeleton Corsets. The vertical bones are connected by lacing throughout the corset.U.S. Patent # 99,664 February 8, 1870 granted to Thomas S. Gilbert, of Birmingham, Connecticut.
99,871 February 15 1870 Improvement in Skeleton Corsets. The title is actually of great interest, it states that Skeleton Corsets were already known, at least to Fanning and the U. S. Patent Office. “My present invention is an improvement on the corset for which I made an application for Letters Patent on or about the 14^th day of June 1869. The two corsets resemble each other in form, but differ in respect to the mode of making the bone and steel pocket pieces and the upper and lower supporting-pieces. The bone and steel pocket pieces, together with the upper and lower supporting-pieces, in the corset described in the first application were made by sewing pieces of cloth together, whereas in the corset described in my present application the same pieces are woven in a particular manner and for such special purposes. Zone-shaped center supporting-pieces are employed in both corsets for uniting the steel and bone pocket pieces.”
100,278 March 1, 1870 Improvement in Corsets. “By reference to the drawing it will be seen that the zone-shaped pieces FF support the pocket and connecting-pieces CC in such a manner as to sustain them in their proper relative positions, to fit the waist of the wearer in an easy and graceful manner, thus obviating a serious objection to a skeleton corset in which vertical pieces are united by a narrow central band, the edges of which are parallel to each other. I do not wish to be understood as claiming anything shown and described in the patent granted C. D. Rutherford, December 11, 1866, and I hereby disclaim the invention shown and described in said patent.”
Design 4366 September 27, 1870 Second paragraph: “The nature of my design is fully illustrated by the drawing, from which it will be seem that the upper and lower bindings, or supporting-pieces, A B, are united by separate upright pieces, C, the central parts of which are joined to the zone-shaped pieces, D D, which form the waist or girdle of the corset, while the spaces between the upright pieces C, above the girdle D, are covered with an open-work cloth or netting, E, and the similar spaces below the zone-shaped girdle D are left open, thus producing a very tasty and neat design for corsets.”
The patent was reissued on June 6, 1871 Reissue # 4,415 Clementine D. Rutherford of Brooklyn, New York, Assignor to David H. Fanning of Worcester Massachusetts.
Thomas S. Gilbert has a true Skeleton Corset patented not long after Fanning patents his. U.S. Patent # 113,418 April 4, 1871 Improvement in Skeleton Corsets, granted to Thomas S. Gilbert, of Birmingham, Connecticut.

Advertisements for Fanning’s Skeleton corset

The earliest advertisements I have found for Fanning's Skeleton Corsets are from 1870

“This Corset is constructed on an entirely new principle, being open, and thereby allowing the freest circulation possible, besides giving perfect ease and comfort to the wearer, and at the same time possessing all the advantages of the common Corsets in giving support to the body.

For Health, Grace and Comfort, they are unrivalled in the market. They are particularly recommended for summer wear, and warm climates, although equally well adapted to all seasons of the year. They are highly recommended by medical and scientific men.

For circulars prices &c address the

WORCESTER SKIRT CO Worcester Mass”

The Atlantic Monthly Volume 26, No. CLIII July, 1870, Page 771

Demi-Skeleton (with mesh in the upper portion)

The Schoolmate Vol. 27. No. 3. March 1871, page 153

"The most easy, graceful and sensible Corset every introduced"

Demi-Skeleton Corset Advertisement, March 1871

Mesh in top and bottom

Herald of Health Volume 19, No. 3 March 1872 Page 136

“Should be worn by all ladies who value health and comfort. They have been greatly improved, and the fit is perfect.”

Other Popular Skeleton or Ventilating Corsets

Royal Worcester’s Skeleton Corset was not alone on the market in the Ventilated Corset family when it came on the market. The two I have found most advertised are the Panama Skeleton Corset and Thomson’s Ventilating Glove Fitting Corset.

Panama Skeleton Corset

The Panama Skeleton Corset is not excelled for Summer Wear

Peterson’s Vol. LX, July 1871, No. 1 Page 82

Thomson’s Ventilating Glove Fitting Corset

“The Ventilating Corset, intended for summer wear is patented by Thomson, Langdon & Co No 391 Broadway, New York. It fits admirably, and is very flexible. Parts of it are made of a sort of netting, which keeps the body cool, while at the same time, the stylishness and grace of the figure are preserved. We cannot recommend these ventilating corsets too highly for summer wear, or for ladies living in a southern climate”

Peterson’s Vol. LX, July 1871, No. 1 Page 81

History of this Corset

This skeleton corset came from the Isidor Roth Collection of American Corsets of the Brooklyn Museum, Gifted by E. A. Meister in 1950. Isidor Roth was the designer behind Roth Creations, a part of Royal Worcester in the 1930's and 40's.

Sydney Morning Herald Wednesday June 16, 1937

“Those marvelous Roth Creations by Bon Ton now at David Jones"

Foremost designer of foundations in America to-day, Roth has just planned a superlative series of creations exclusively for Bon Ton, and now available at David Jones’… Roth combines the genius of a sculptor with an uncanny appreciation of the quality and tension of fabrics. He selects personally every piece of fabric used in his designs. He has an undisputed flair for fashion…

Witness this triumphant all-in-one we’ve illustrated. A Roth Spring original in lustrous satin and firm shadow lace – barely a bone in its body but cut so cunningly over the diaphragm and inset at the sides with elastic, it achieves the most admirable new nipped-waist-to-raised bust, and sleeker hip lines. 45/-.

In 1947, Isidor Roth was listed as President and Sales Manager, as well as a Director of Royal Worcester Corset Company, 30 Wyman Street, Worcester, Massachusetts. Directory of Corporations, Partnerships & Banks in Worcester County 1948

“Isidor Roth of New York president of the Royal Worcester Corset Company, died here this afternoon at the Hotel Sheraton of a heart attack.” Friday March 4, 1949, New York Times, 1949

The corset was acquired by the Brooklyn Museum in 1950 when the Isidor Roth Collection of American corsets was presented to the Museum. In January 2009, the Brooklyn Museum sent all their costume collection to the Metropolitan Museum. Much of it was deaccessioned and auctioned off in November 2009 through Augusta Auctions. Time Travelers purchased it at auction and I acquired my corset from Time Travelers on e-bay in October.

Brooklyn Museum’s Worcester Skirt Co. Skeleton Corset

The Augusta Auction of Brooklyn Museum’s collection on November 4, 2009 had a Worcester Skirt Co. Skeleton Corset listed in Lot 27 along with two other 1870’s corsets (one of which is this one).

“LOT# 27 THREE CREAM COTTON CORSETS, c. 1870 $200-$300

All w/ sewn in curved center waistbands: 1 cotton sateen, 1 corded cotton & 1 w/o fabric between boning & stamped "Worcester Skirt Co.", (stains) good. BM (Boston Museum)” They sold for $540!

Time Travelers then also sold this on e-bay, apparently having won it at the Augusta Auction. It sold for $430.

I do not have permission to share the photos due to copyright, but I will describe the differences and similarities between the Worcester Skirt Co. corset and my own Skeleton Corset.

Differences

Worcester Skirt Co. First, it is stamped on the inside of the zone waist with a mark like this image I made.

Second, it has the busk cover like in the patent, over a more standard busk.

Third, the zone waist is made of horizontally ribbed material and is bound with twill tape, leading me to suspect it is a single layer.

Similarities

The Worcester has the same number of bones as mine, and they are also placed on the outside of the zone waist.

The Worcester also has a 12” busk, but mine has more eyelets at the back (12 versus 14, and the Worcester is missing two). Both have eyelets spaced closer together at the waist though the Worcester only has two spaced closer where as mine has 4 spaced closer together.

The placement of the bones is a little different. The waist on the Worcester is 22” which is 2” larger than the 1869 Skeleton Corset. The bones are more evenly spaced around the waist, where as mine has the front closer together. The front bones also are spaced further apart at the bottom binding than they are at the waist. This of course means that there isn’t as long of a loose bottom binding as there is on mine.

What I can not tell from the photos is whether the vertical casings are made of fabric strips like mine, or specifically woven as the patent states. An educated guess would be for specifically woven, as that is what the patent states.

Who made this corset and why?

This corset did come from Isidor Roth’s collection, which included 171 American corsets[i]. Roth was highly involved with Royal Worcester so he may have gotten it from Royal Worcester. The staining on the top binding would seem to show that it was worn more than once, so the idea of it being a test sample is a bit of a stretch. Also the fact that it was altered to have a layer of cloth behind the bones, which was done completely by hand seems to back up the idea that it was a personal corset. The fact that all the original stitching, with the possibility of the buttonholes, was machine done, and the alterations by hand, lead me to think that it was a manufactured corset rather than one made at home. I have yet to see any other example of the busk used in this corset on another surviving corset, so I do not know if any major manufacturer used them, or if they were available to small corset-makers, let alone the home seamstress.

When I contacted the Brooklyn Museum and they told me the date it was acquired and the fact it was part of the Isidor Roth collection as I had guessed. They then told me to contact the Metropolitan Museum for more information. I have yet to hear back from the Met on any additional files they may have about this Skeleton Corset, or the Worcester Skirt Co. example. I am hoping that since they discarded two early Skeleton Corsets that there was another in better condition that they did keep from the Brooklyn collection.

At any rate I will continue to work on researching this corset. I also hope to grade the pattern to more sizes so that I can make one to fit me, likely not for some time though as I am going through pregnancy.

This Skeleton Corset and the DPP 2010

I had originally limited my research to pre 1880, but when the Double Period Project winners were announced on Your Wardrobe Unlock'd with Natural form 1876-1882 being the Victorian selection, I extended my research to 1885. The last advertisement that I found for Fanning's Skeleton Corset was in 1872. Since my Skeleton is most like Fanning's, though museum dated to be just earlier than his first patent, I would say that this particular corset would be considered old-fashioned for the DPP. Since I do not have much info on the busk, I can't tell how long it was used, but we can safely assume it was not as popular as what we would considered a 'standard' busk.

Acknowledgements

I would like to thank Marion McNealy and Lara Greene of LaraCorsets.com for their help in research.

I would also like to thank my husband for the use of his tools and encouragement in using them. As well for taking the children off my hands so that I could write this article up.

[i] Brooklyn Museum

Guide to the records of the Department of Costumes and Textiles 1911-2004 PDF

Page 11 ‘In 1950, the Isidor Roth Collection of American corsets was presented to the Museum’

Page 67 ‘Mr. E. A. Meister (Isador Roth corset collection, 50.105.1-171)’