Italian Stays: 1740s-1760s. Baleen, silk taffeta and linen lining.
Stays… the bane of every costume maker’s existence. They are incredibly difficult to make, and even more difficult to get right. When I mean “get right,” I mean: perfecting the style, the shape, the amount of boning, the accuracy, the fit, the fabric, the layers… blah blah blah… you get it. Additionally, there is great pressure to make “a good pair of stays” because stays are a foundational garment, and if you mess that up, everything worn on top is basically ruined. *cue drama*
As I will be making my own pair of stays in the near future, I wished that someone had given me the basic information of making appropriate stays for the 18th century, instead of jumping in head first into a realm of history and garments I have no knowledge of.
Here’s some tips of what I found. Remember, I am only providing enough info to help you start… this research is only the tip of the ice burg. So now, you at least have enough knowledge in your arsenal to muster up the courage to take the first step in designing your stays, and deciding what to incorporate.
Because stays didn’t change all that much throughout the 18th century, there were several different designs specifically made for different purposes, even though the overall shape and main elements remained the same. I’ve listed 5 of those elements which I think is important to consider, as well as referencing some interesting blogs and articles at the end of this post.
Firstly: all stays had lacing. Be it front, back, decorative, half laced, wide lacing, or both front and back lacing. Keep in mind, that the more lacing you incorporate, the more support is provided to the bust, which was emphasized during different pockets of the century. As in all centuries, tight lacing was frowned upon, as having a small waist was not *generally* the fashion. Keep in mind that the exterior appearance was a reflection of the internal; therefore, tight lacing would make you seem vain with loose morals to the 18th century elite. Transversely, the waist consequently looked small due to the enormous skirts and heavily elaborate bodices. So the need for shaping the waist into an hourglass shape was not necessary. Besides, ladies of the day preferred the triangular torso shape anyway.
Secondly: stays did not have closure busks. Roughly one century later, metal busks were developed and inserted into the front of corsets to ease the dressing process as well as create a smooth shape to the body. Those busks were made of flexible metal, with little eyelets and hooks, to secure either side of the corset together. At this point in history, there were busks, but not the 19th and 20th century kind. Busks of the 18th century were made of ivory, whalebone, or wood which was inserted into the front of the stays, providing additional support the the abdomen and bust, as well as creating a flattened, narrowed stomach. These busks were engraved, and none of them were the same. Many times, sailors gave busks to their sweethearts as a token to remember him by. Not only was this a practical gift, but it was also incredibly intimate. On some busks, the sailor carved ships, mythical sea creatures, important dates, and his initials into the busk. Maybe consider making your own!
Stays & Wooden Busk. 1750-1780. North America. Source Winterthur. (highly recommend looking through the busks in their collection.)
Thirdly: stays did not have flossing. Proper 1700’s stays did not have the simple flossing designs on them as corsets did in the 1870s-1900s. The technique of stitching flossing on corsets was a way of securing the bones (baleen or metal boning) into their boning channels, so they might not move or rub against the hips or pinch under the arms. Stays in the 18th century rarely had elaborate stitching on them, and as there were so many boning channels on a single panel on a pair of stays, adding any flossing over each boning channel would have been tedious, and not to mention add excess bulk to the garment. On some elaborate stays, however, a layer of heavily embroidered or brocaded fabric was layered on top of the stays, so the boning channels would not have been seen. These kinds of stays may have been worn as structured exterior bodices, as the one shown below. An other alternative to incorporating threading into stays, would be to add a stomacher to a pair of open stays, which would have been heavily embroidered to add design, color, and elegance to the otherwise simple undergarment.
Fourth: there is no such thing as not enough boning. This is hard to keep this in mind, being historical recreationists and all… but there was never a maximum, minimum, or standard amount of boning you could incorporate into a pair of stays. Each stay was custom made for a single woman, and therefore it was made to fit her. If you look closely, boning channels on different stays are sewn at different angles, the amount of bones vary, and the overall structure looks slightly different too. During this time period, many staysmakers used whalebone (baleen) or reeds to provide structure and shape to the garment. Today, we use 6mm plastic bones (or zip ties), though reeds are still available for use. Make your stays fit your needs, and don’t be intimidated by how many to use!
Finally: the fabric is up to you. The most common stays were made of cotton and leather, as the women of the lower classes outweighed those in the elite. However, the upper classes enjoyed fripperies made of lace, silks, fine linens, and brocades. For those who could afford it, practically every color imaginable was used to create an elaborate undergarment, so don’t feel pressured to just make a white or cream colored pair of undergarments (which wasn’t exactly historically authentic anyway). This was an era of color and extravagance, as well as simplicity and practicality. Pick your preferences!
Stays. 1735-1750. France. Silk Damask and braid, silver lame linen ribbon. Source. Mad Paris.
Voila! I hope I helped you understand the basics of staymaking and what to consider.
Also, as a side note, all the staymakers didn’t have sewing machines… so every stitch was done by hand. Every boning channel painstakingly stitched to tightly secure the bones. If you have access to a sewing machine, or if you want to create your stays as historically accurate as possible, hopefully I’ve given you some basic insight on what to consider as you design your stays.
Good luck! -Elise
Additional Resources:
Featured image: A Lady Showing a Bracelet Miniature to Her Suitor
–> All Things Georgian
Research on stays: 18th Century Stays
Collection of Busks: Winterthur
Period Cinema Costumes: Decor to Adore