Many of our ancestors wore sturdy under-structures under their clothes, to support, restrict or accentuate their natural figure and create the fashionable ‘look’ of The Era. The use of whalebone- or leather-stiffened bodices in the Middle Ages began the trend for sculpting the female form and distorting the silhouette. During the 1500s emphasis was on a small waist with an elongated, pointed stomacher (bodice front) that compressed the abdomen, an exaggerated cone shape achieved with a centre ‘busk’ – a flat, narrow piece of wood, horn or whalebone that lengthened towards 1600. During the 17th century the boned bodice lining became known as the ‘stays’: from c1630 stays developed waist tabs, emphasising a tiny waist, and by 1670 sat rigidly across the shoulder blades, forcing an erect posture. From then on, stays became a separate under-structure and the occupation of stay-maker developed as a distinct branch of tailoring, with male stay-makers establishing their trade nationwide.

Georgian stays were generally made from layers of stout fabric such as linen, canvas and cotton, leather also being used, chiefly by working women, for juvenile stays and to correct bodily deformities. Stiffened with whalebone or substitutes like reeds and reinforced with lines of running stitches, they were laced at the back, had shoulder straps and usually fastened in front with ties. Chamois leather protected the under-arm area and central busks of ivory, wood, whalebone or steel were inserted into a front casing. For much of the 1700s very firm stays were styled high at the back and low in front, restricting the stomach and pushing the bust forward. Their rigidity made stays extremely uncomfortable to wear, yet many women welcomed their warmth and support, some wearing light stays in bed and even for childbirth.

During the 1790s and early-1800s, following simple neo-classical lines stays – increasingly referred to by the French term, corset – were light, but from the 1820s fashion favoured an hourglass figure and tightly-laced corsets featured shaped bust godets and hip gussets. Adjustable maternity corsets were available from c1810 and in the 1830s strapless corsets developed. By the 1840s corsets were formidable contraptions covering bosom, abdomen and hip, fortified with a ‘steel’ (steel busk). New technology influenced Victorian corset design and construction, inspiring a succession of new models. By the late 1800s the perils of tight-lacing were becoming a major health issue, medical professionals and dress reformers advocating more ‘hygienic’, comfortable corsets. The exaggerated S-bend Edwardian corset represented the last distortion of the female form. In the 1910s longer, lighter corsets created a more natural effect, elasticated panels facilitating the playing of sport and dancing. Progressively corsets shortened to below the bust and by the 1930s a light corselette or ‘girdle’ was worn by young women who had never experienced heavily-boned corsetry.