The Corset Elastique, or Elastic Stay, is an interesting oddity in the little known world of Regency Era Corsets.   If you have spent some time reading up on corsets and stays of this era, you have undoubtedly found the Costume Parisien Plate 467 from May 4, 1803 Corset Elastique. The original illustration is in the Collection Maciet at the Biblitheque des Arts Decoratifs.

This style of corset has springs in the front, thus giving it a bit of elasticity, but the use of metal springs in corsets was not new in 1803; the 1790’s stays of the Kyoto Costume Institute also have springs (right).

Kyoto AC 4197 82-5-5  C. 1790 ( See Revolution in Fashion page 101 or Fashion from KCI page 131).

These stays have springs on the sides to give a little bit of ease of movement.  The front was not shown in the photos, so it is left rather blank. 

 

Surviving Examples

There are several surviving examples of short corsets elastiques found in museum and private collections.

Stays from the Netherlands Museum of Costume, The Hague

Undated, no reference number was given in the book. These stays appear to be worn under the breasts.

Spirals of brass are inserted between the white silk outer and linen lining. One bone on the outer edge of the center back, one bone at the side seam, and a bone on either side of the front eyelets.

The straps attach to the front with buttons. There are two buttonholes on the straps. The front of these stays are not as gathered as the other examples. There are two springs in the center, and five at the top and bottom. Around the top and bottom edge, as well as side and mid back seams there is decorative stitching, likely a herringbone stitch. The spacing of the eyelets seems to indicate X lacing instead of spiral, though they are laced spiral in the photos (but not my re-drawing)[1]

 

Abbiti Antichi

Reference Number Bust 36

Described as:

 “Bust short brown silk taffeta lining in ivory silk taffeta. The straps in brown silk taffeta are lined with ecru canvas and end with a final part in ivory goatskin.

The front part, closed by lacing (string original), and stiffened by thin horizontal and parallel brass springs inserted between fabric and lining.”

We can see that the shoulder straps are tacked at their crossing point. The leather ends pass through the buckle attached to the front. I can't see any evidence of boning. The front laces closed through six pairs of eyelets that appear to be straight across, not staggered, indicating that they were not spiral laced. I count at least twelve, probably closer to sixteen, rows of springs stacked one on top of the other. There is decorative stitching, likely a herringbone stitch, around the edges of the back panels.

Museum Arlatan  Via joconde

Inventory Number: 2003.0.6392 ; 10200 (Old Number) ; 435 (Old Number)

Described as:

 “Corset light and short of blue silk taffeta, lined with white cotton canvas, forming an elastic bra closed by metal fasteners on the loops and held by straps. This garment is a form of lingerie that appears in 1804 before the long corset is provided for every day in 1810 to cover the stomach and hips.”

These are very similar to the ones from Abbiti Antichi. No boning, sixteen rows of springs, herringbone stitch around the edges of the back pieces. The difference is in the back strap placement: the ends of the straps are cloth, and the front fastens through three buckles.

A corset elastique depeicted on a fashion plate from the February 1801 edition of Journal des Luxus und der Moden is almost identical to the Museum Arlatan example. It is described as being of pink taffeta.

Metropolitan Museum

C.I.46.82.8  1805-10 probably French

This pair is really interesting. The back piece has a diamond shaped seam, which appears to be purely for decoration. It has a three piece back, like the Costume Parisien plate; the underbust spring styling is very similar to the Hague stays. Unlike the Abbiti Antichi and Museum Arlatan examples, this one is only lined at the front section where the springs are. There are a total of ten springs in the panel, four that follow the top curve, one in the center and five along the bottom, the lowest one in the binding. The center one is not contained  in a channel when it reaches the curved section. The seams on the back section have herringbone stitch worked over them, for decoration and presumably for holding down the seam allowances. There is a bone on both sides of the front eyelets and possibly one on the side seam. The five eyelets are spaced directly across from each other, not spaced for spiral lacing.

The cups are probably the most interesting feature of these stays, being made of a lightweight sheer silk.  There is a drawstring in the top binding of the cups.

 

One of the things that stands out to me about these surviving examples is that they are all made with silk exteriors, many of them colored! Even much of the written documentation mentions silk fabric coverings. There is also very similar embroidery on all of them.

 

Springs in Corsetry

In my search to learn more about the corset elastique, I discovered that springs were used in medical corsets of the 1790’s [2] after Martin Van Butchell (or Vanbutchell) received  a patent on December 1^st, 1783 (number 1404) for the use of springs in various applications.

“ "New spring bands or fastenings for the apparel or furniture of man or beast, which bands or fastenings by their certain reaction or small friction were more easy, safe, or lasting than other bands or fastenings.” These bands are composed of springs made of “silk, catgut, cotton, hair, worsted, thread, and such materials twirled, twisted, or curled so tight as the materials will bear” and laid in straight, cross, diagonal, or other lines; or of spiral springs made of any suitable metal or mixture of metals. The wire of which the springs are made may be covered with silk twist, thread, &c., and the springs may be covered with gold or silver lace, ribbon &c.. The bands are fixed to the parts to which they are applied by means of buckles, buttons, studs, clasps, hooks, rings, and other contrivances.

The patentee employs these bands for a great variety of purposes amongst which he mentions glove bands, knee bands, neck bands, waist bands, bands for cravats, braces, stays, petticoats, coats, breeches, stockings, and garters. He uses them also for head coverings, and foot coverings, for harness, and for furniture.”[3]

It's rather a far reaching description if you ask me! But then he has quite a history attached to him. The spring garter did come into use, so maybe he wasn’t so far out there after all! (A spring garter at Colonial Williumsburg Acc. Num: 1985-263)

Many other patents for the use of springs in stays followed. James Gayleard’s 1803 patent for long stays, short stays and corsets relates to the construction of elastic corsets.

“A piece of cloth or silk is cut into “ten parts, two of which are to be made elastic and placed in the front of the stay.” The elasticity is obtained “by covering the wire used therein with cotton or worsted or any other proper material, which is afterwards covered again with silk or cloth.” The front, however, need not be made elastic. The stay is made “whole at the bottom with an elastic gore on each side.” Two small elastic gores are “put in those pieces that join the elastic front,” and a bone (one or more) is “cased and put in the front of the stay between the elastics.” ”[4]

 

Corset Elastique of Delacroix

An illustration of a Corset Elastique from 1803 designed by Lacroix can be found in HISTOIRE NATURELLE, DE LA FEMME, SUIVIE D UN TRAITE D'YGIÈNE

Some text selections shed light on this style.

“Clothing of the size, after these principles, and by means of belts, of bands and elastic corsets suitably laid out, can support the belly or to prevent from becoming deformed after childbirth, to draw aside the shoulders, to give more thanks to the attitudes, and to protect the breast, or to even contribute to the beauty of its development.”

“These bodies have all the advantages that were attributed to the body without having the whale in inconveniences. That we felt obliged to present here the design, offers a special modification that enables him to separate hemispheres too close to a large throat. Plate 4

(A) is the pad that performs the separation. (C), the elastic strip center that supports the pad and easily yields to the movements of the chest. (B), meets another jurisdiction through which the inflections of the body may take place without difficulty.

Corsets with elastic compounds, merely state the size and the breast, without exerting compression inflexible and can hinder the action of muscles, or the undulations of the abdominal viscera. The citizen Lacroix arrived from elsewhere to variously modify these corsets and even to provide for some special cases, the effigy of the organs they need support and then they simulate to deceive the organ of touch.

In all circumstances, the breast should never be driven high with difficulty, because then falling all it was moved it deforms much more quickly.”[5]

Text on the plate

“View outside and inside a corset with a spring has the hemispheres so as to avoid too large a chest”

Description of Plates

“Plate fourth (page 455) This plate is a brace arranged to remove the hemispheres too close to a large chest.

The three figures on this plate to expose the details of the effect and mechanism of this corset.”

THE DUTIES LADY'S MAID 1825

“At Paris, they recommend for beautifying the breasts, the corsets of Delacroix, which are light, flexible, firm, and elastic, and adapt themselves so perfectly to the shape, as not to compress nor injure any part. To this are fitted such paddings as may be required to fill up any deficiency, which ought always to be of the lightest and most elastic materials.”[6]

HISTORIQUE DES BANDAGES LACES 1826

“These corsets (old style stays), rightly banned, are now replaced by those which we have spoken, and the elastic corsets we have only mentioned M Delacroix has greatly improved recently.”[7]

O’Followell in his 1905 book Le Corset calls this the corset of Moreau de la Sarthe, who was a noted physician of the era.

“Already at that time the inventors were not unemployed and the year 1803 gives the day to a special corset of Moreau de la Sarthe. This corset was built in such way, a spring maintained the breasts isolated. In the continuation, one was satisfied with small plugs or pads interposed to prevent the meeting of the breasts; during the duration of the first Empire, indeed, although the size went up high, the dresses exposed the chest driven back under the chin by the belt which passed under the armpits.”[8]

John Mills and his Patent

Elastic corsets were recommended for maternity wear. March 14^th 1815, a patent was given to John Mills, Stay and Corset Maker in Middlesex for “improved elastic stays for women and children, and also to give relief to women in a state of pregnancy”.[9]

“Three constructions are described, one for young  persons or for adults, one for pregnant women, and one for such as are in a more advanced state of pregnancy.

1 An elastic portion is introduced into the middle of the front; it is composed of by preference “small brass wire worm springs” in spaces stitched in between two pieces of any suitable fabric “puckered or quilted loosely to give room for expansion.”

2 The elastic portion is larger; the springs at top and bottom are stronger than the others; and at the sides are openings with lacings and “linings to prevent the wearer receiving cold through the opening.”

3 An elastic portion is let in on each side as well as in the front; buttons and loops cross these portions and regulate the degree of expansion required; and there are side openings with lacings and linings as in No 2.”[10]

The first plate shows the elastic section is placed where we would normally see the busk.

“This flexible portion is composed of springs, either of brass, copper, or iron wire, or of any other matter or thing capable of producing sufficient elasticity; but that which I recommend is small brass wire woven springs, which extend by a small degree of force.

These I place close together in runners or spaces stitched in between two pieces, or laying of silk, satin, or other fit material puckered or quilted loosely to give room for expansions; the ends of the springs, and their covering of silk, satin, or other matter on them, sewed, or otherwise fastened to and between the two half pieces of the stay previously made of the usual materials, such as jean or other cotton, linen, silk, woolen, or leather, with the proper busks or necessary portions of steel, whalebone, or other substance commonly adopted, calculated to distend the stay and brace and support the body; the busk may be varied in substance, width, or direction, according to the will or necessity of the wearer.”[11]

John Mills’ 1815 patent covered two styles of pregnancy corsets. The first would be used in early pregnancy and postpartum, while the second was for later pregnancy.

The second plate showing the pregnancy stays (right)

“In this elastic portion the springs need not be placed so close together as in Fig. 1, and it will be found necessary to place stronger springs at the top and bottom than in the middle, the latter being intended to yield very readily the former to help, support, and brace the body, with busks of a slighter kind than usually adopted in common stays placed down the stay in order to distend it, as seen in the drawings; on the sides of the stays are openings with lacings, calculated to enlarge the stays if required, with linings to prevent the wearer receiving cold through the opening.”[12]

The third pair of stays is for wear in a more advanced state of pregnancy.

“The third construction, represented in the drawing, Fig. 3, is intended for women in a still further advanced state of pregnancy, and consists, in addition to the last described, of expansive or elastic portions placed in the sides, as seen in the drawing ,of the same materials (viz.), dilating or elastic springs, as the front elastic part. There are likewise buttons and loops crossing these portions to prevent too great a degree of expansion when not required; these stays have also an opening slip in the side with lacings, to allow of being enlarged, and a flap lining or covering under the same to prevent cold from passing to the wearer when the lacings are open.”[13]

John Mills had been in the corset business since before the turn of the century, according to the records of Sun Fire office, available online at the UK National Archives.  There was John Mills, Staymaker, who had fire protection from November 21^st, 1798 at 34 Holiwell Street[14]. By May 3^rd 1805, it appears that he had another property at 21 Ryders Court, Cranbourn Street[15], and in October 3^rd, 1806 his business was located at 33-34 Holywell Street[16].

An advertisement in March, 1802[17] Mills is identified as Junior, leading us to understand that he is differentiating himself from another Mills.

“The Patent Brunswick Vests, invented by Mills, jun, so generally worn and admired on the Birth Day”

“An elegant assortment of various kinds of Fancy Corsets and curious Circassian Corsetts with elastic fronts in colour’d and white; a very neat article in white Marseills, with union braces, belts and buckles, quite fashionable, at about 15s.”

In May 1803[18] he is advertising “Patent and Elastic Corsets” along with his other previous styles.

Mills’ corsets were sold by many though the whole of the United Kingdom, so we find advertisements for them from many places.

John Golden, who did business at the Corner of Abbeygate-street and Butter Market in Bury, was a Draper, Hosier, and Haberdasher, advertised in December 1804[19] “Mills’s vests, stays, corsets, rivals, elastic supporters, from 7s. and upwards; a fresh assortment of monitors for young Ladies; also the much approved patent military stocks.”

Wm. Juby of Tacket-Street, Ipswich, in June 1817: “He also has the satisfaction to inform them, he has just received a large supply of Mills’s celebrated Elastic Stays and Corsets, for which he is now sole agent.”[20]

Mills utilized the new metal eyelets soon after the English patent was granted in March, 1823!  Wm. Juby of Tacket-Street Ipswich advertised in May 1823, “also a very large assortment of Mill’s fashionable Patent Stays, with silver lace holes, warented never to wear out.”[21]  Annis Swithenbak of Sun Bridge, Bradford, advertised in May 1824: “Mills’ Fashionable Stays and Corsets, with or without silver lace hole”.[22]

As with all things, Mill’s corset manufacturing came to a close in April 1825 when he declared bankruptcy.[23]

Long Elastic Stays

I did not find any surviving examples of long stays with springs in them, save for a small sample photographed in Ease, Convenience and Stays 1750-1850 by Peter and Ann Mactaggart in Costume 13 from 1979. However, they are mentioned in advertisements as being for sale, usually along with short stays.

Advertisements for Elastic corsets

Mrs. Harman’s Long Stay

Mrs. Harman of No. 1,8 New Bond-street, London or No. 6 Westgate Buildings, Bath, advertised her Long Elastic Cotton Stay heavily in 1807 in direct compititon to Mrs. Lloyd Gibbon’s Patent Anatomical Stays.

The first advertisement I found for Mrs. Harman came from March 1807 La Belle Assemblée:

“COTTON STAYS

Her  Majesty's Staymaker, Mrs. HARMAN … is the Inventress of the so much admired LONG ELASTIC COTTON STAY, which obviates every objection complained of in Patent Stays, for its ease, elegance, and healthful tendency.”[24]

By June her advertisement had expanded, and shows us more of the design of her stays through the description.

“The elastic cottoned long Stay invented by Mrs. HARMAN, who alone can make them in their genuine perfection.

These so much admired Stays obviate every objection complained of in Patent Stays, not being subject to the disagreeable necessity of lacing under the arm, or having knit gores, so very elastic as to be in effect no stay or support whatever Mrs. Harraan's Stays adapted to give the wearer the true Grecian form, must be seen to give Ladies an adequate idea of their beauty and utility, therefore Mrs. H. has various sizes ready to send for the inspection of those Ladies who live at a distance from London.

Stays, being in the present style of dress of great importance, Mrs. Harman recommends it to the serious consideration of Ladies what sort of Stays they wear, long Stays have now for a considerable time made part of the female costume, and have been variously made according to the knowledge, taste, or strength of invention in the maker, so have they, more or less pleased, but one general complaint has attended them, namely, that on some forms they would wrinkle on the hips, and prove uncomfortable in sitting; Mrs. Harman from a close observation and imitation of nature, has constructed a Stay which will not be attended with these in conveniences, and a the same time will give an agreeable and graceful shape to the shoulders, reducing the bosom if too embonpoint, or increasing its natural appearance (if too diminutive) to the taste of the wearer, and as her cottoned Stays are exquisitely easy and pliant, they preserve to the slender form all its native roundness, while they guard from cold, the most susceptible parts of the body. Mrs. H in availing herself of the Lectures of Statuaries and Medical men, on the subject of the female form, feels herself competent to say, that her Stays are the most perfect combination of study, talent, and attention to fashion and health that can be produced. Those Ladies living at a distance from London or Bath, applying by letter (post paid) will be informed of the proper method to send their measure for Stays, No. 1,8 New Bond-street, London; or No. 6 Westgate Buildings, Bath.”[25]

She claimed that these stays could be “put on in the space of half a minute.”[26] She also sold short stays, according to a November 1807 newspaper advertisement.[27]

Mr. T. Morton advertised in April 1809 that his Cheap and Fashionable Stay and Corset Warehouse carried the “much improved Long Stays” as well as “washing and Coloured Stays of all descriptions, at reduced prices.” Other offerings included: “Stays which lace themselves, without the least trouble; also Corsets, Jackets, Elastic Vests, &c. Monitors, and every other requisite.” They offered “Several pairs for choice, or made to measure, on the shortest notice, and most reasonable terms.” Mrs. Morton waited on the ladies "in the shop and at their own homes.” [28]

Madame Royer, No.3 George-street advertised in early 1816 that “She has also received from Paris an elastic Corset and Ceinture, which for ease of shape is well worth the attention of the Ladies.”[29]

Mrs. Sanderson, No. 11, Queen Street, Hull, advertised several types of elastic corsets in 1819 such as:

“Long supporting Corset with Elastic Straps for Ladies in delicate health, and several other Kinds of Elastic Corsets for Children, &c. as beneficial to health and to promote expansion of the chest. Elastic, and every other kind of Belts, Steel Back Boards, and Improved Shoulder Caps for Young Ladies”.[30]

The style of having an elastic front where the busk would normally be is sometimes seen later in the century. Marchande de Corsets by Charles Philipon, 1830, as seen at the start of chapter 2 in Valerie Steele’s book The Corset: A Cultural History, and redrawn here, seems to show an elastic front.

This 1860 corset from Der Bazar shows an elastic front section (right). The use of springs continued into the late 19^th century with “Ball’s Health Preserving Corset”, which had coiled springs in casings on the side.

 

Bibliography

Brown-Larimore, Karen, The Changing Line of the Corset from 1820 to 1915, Thesis for Master of Fine Arts in Theater and Drama at the University of Wisconsin-Madison, 1984

Doyle, Robert, Waisted Efforts, 2002, ISBN 0-9683039-0-0

Mactagart, Peter and Ann, Ease, Convenience and Stays, 1750-1850, Published in Costume 13, 1979

The Netherlands Museum of Costume, The Hague, Vrouwenkostuum, 1800-1820. Women's dress, 1800-1820. , 1966

Steele, Valerie, The Corset: A Cultural History, 200,1 ISBN 0-300-09953-3

Kyoto Costume Institute, Revolution in Fashion : European Clothing, 1715-1815, 1990 ISBN 1-55859-072-2

Vicaire, George. Manuel de l'amateur de livres du XIXe siècle, 1801-1893: A-Z, 1900

 

Footnotes

add