Added: 01/04/2006 |
Corset description is not in the least incricateEarly forms of the corset generally emerged in the fifteenth century. The rigid centrepiece, known as the basque, was often decoratively carved and enjoyed a trend as a lover's token. Corsetry increased its actuality in later history. Corset description undelines aesthetic purposes as most essential ones but corsets were also used for orthopaedic purposes.
description of the bra, known as a strophium, was in use in Roman times. Women wore a multitude of corset-like variations. These early forms of the corsetry generally emerged in the fifteenth century. Toward the end of the Renaissance, the padded silhouette came into being, with a flat stomach and narrow waist. The style became greatly overstated during the seventeenth century when the frame achieved astonishing proportions, the corset became a near straitjacket, moulding women's bodies into abnormal shapes and used as an pretentious display of the rich, highly decorated dress fabrics of the day.
In the eighteenth century, although women ruled the elegant society of the salons, the corset description still ruled their bodies, which attained an artistry never seen before in undergarments. Copious use of damask, satin or brocaded silk, embellished with embroidery, masked the rigid structure of whalebone within. During the nineteenth century, as corset description goes, the extent and style of underwear worn by women reached extremes, and women's figures were completely exaggerated: vast full sleeves, a miniscule corsetry waist, followed by whalebone hoops and crinolines covered with yards of fabric, flounces and trims. The bustle highlighted women's bottoms, and frilled pantaloons and multiple layers of petticoats created full skirts. So unobtainable did the female body become beneath the layers of underwear that taking it off created its own form of sexual anticipation and spawned the first striptease shows.
Corsets, bustiers and basques enjoyed a revival in the eighties with punk fashion and Vivienne Westwood fetishist corsetry made from leather and rubber, and in the nineties with Jean-Paul Gaultier sculptured costumes for Madonna, whose fans adopted a diluted versions, wearing an array of basques and bustiers as well as corsets, with jeans and other modern day items.
Historically, according to
corset description, the corset has always been a woman's underwear support, which was boned and close fitting and usually hooked and laced. The corset starts either above or just below the bust and continues down to the waist or below the hips, generally with garters attached to its base. The corsetry has effectively evolved into a body-shaper, derived from sportswear, and featuring under-wiring of the breasts and elasticised control panels with popper fastenings at the crotch.
A Basque is the corset description given to any tight-fitting bodice garment worn by women. Examples of Basques include the corselette. The bustier on the other hand is a bosom-to-hip corset-like garment, usually trimmed in lace. Other features can include detachable garters, flexible boning, shoulder straps, and lace-up closing. Often these garments are worn for the visual enjoyment of a partner and are made from myriad of fabrics and materials including, lace, fine cotton, eyelet lace (broderie anglaise), matte and shiny silk and silk imitations, crepe de chine, georgette, and satin as well as more modern materials such as lycra, leather and rubber. An important aspect of corset description is the corset construction. Lacing is an intrinsic part of any kind of corsets. It is usually situated on the back. The corset description would be incomplete without mentioning the primary corset uses purposes, which are easthetic and orthopaedic.
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