A corset is a garment worn to hold and train the torso into a desired shape, traditionally a smaller waist or larger bottom, for aesthetic or medical purposes either. Korsett er et plagg som benyttes for gi torso en nsket form av estetiske eller medisinske grunner enten mens det bres, eller med mer varig virkning. Korsett Wikipedia. Korsett er et plagg som benyttes for gi torso en nsket form av estetiske eller medisinske grunner enten mens det bres, eller med mer varig virkning. Bde kvinner og menn har brukt og bruker korsett, men det er mest brukt blant kvinner. I den senere tid er ogs ordet korsett brukt av moteindustrien om plagg som utseendemessig ligner p tradisjonelle korsetter, uten faktisk fungere som det. Disse har gjerne hentet elementer fra korsetter, som snring og spiler, men mangler korsettenes kroppsformende virkning. Ordet korsett kommer fra det franske ordet for kropp, corps, som igjen stammer fra latinske corpus. I middelalderen ble det franske ordet corset brukt om bde jakker og kjoler, og ogs om kroppsrustning. Dagens bruk av ordet korsett rekker ikke lenger tilbake enn 1. Det er en alminnelig feiloppfatning at det var vanlig snre inn titalls cm i midjen, men realiteten er at det kun var et ftall som drev med skalt midjetrening systematisk strammere snring av korsett med hensikt oppn en permanent smalere midje. Bde salgstall fra korsettprodusenter og bevarte korsetter viser at de fleste ikke snrte inn mer enn 2,5 5 cm. Skrekkhistorier er det imidlertid vanskelig bli kvitt, og det fortelles f. En rektor mente at tenringsjenter burde klare redusere midjen med en inch 2,5 cm i mneden, blant annet ved sove med korsettet p seg om natten psatt rektors segl, s de ikke skulle snike seg til lsne korsettet. Det var veldokumentert hvilke skader denne moten pfrte kvinners indre organer. I tillegg ble utviklingen av bekkenet hemmet, med kt risiko for komplikasjoner under svangerskap og fdsel som flge. Dronning Maud hadde som voksen kvinne en midje p 1. Elisabeth av Bayern som hadde midje som en veps. Retusjering av fotografier skapte inntrykk av at kvinner hadde smalere midje enn de faktisk hadde, og rykter ville ha det til at noen fikk fjernet de nederste ribbeina for kunne stramme korsettet ytterligere. Ulike former for korsetter er brukt i mange perioder gjennom historien. IMG_9349.jpg' alt='Corsets Crinolines Norah Waugh Pdf' title='Corsets Crinolines Norah Waugh Pdf' />De tidligste eksemplene stammer fra den minoiske sivilisasjonen der bevarte skulpturer og vaser viser kvinner og menn med smale midjer fremhevet av noe som ser ut som belter eller korsetter i metall. Til tross for at en rekke kulturer har utviklet ulike former for midjebelter og brystholdere, er det likevel lite som kan sette dette i sammenheng med den utviklingen av det europeiske korsett som startet i Spania og Italia i renessansen. Fra slutten av 1. Etterhvert som moten ilpet av 1. Renessanse og barokk 1. Det frste ordentlige korsettet stammer fra den frste halvdelen av 1. Disse kjolelivene kunne ha snring foran eller bak og vre enkle eller dekorative, underty eller overty. Snrelivene hadde som oftest stropper, og noen snreliv hadde ogs avtagbare ermer. Snrelivene p 1. Fokus l imidlertid p oppn den fasjonable rette formen p overkroppen heller enn at midjen skulle vre s smal som mulig. Corsets Crinolines Norah Waugh Pdf' title='Corsets Crinolines Norah Waugh Pdf' />Portrett av Mary I, 1. Portrett av Eleanora av Toledo og hennes snn, 1. Dronning Elizabeth I, 1. Portrett av Eleonore av Pfalz Neuburg, ca. P 1. 70. 0 tallet hadde korsettene fortsatt en konisk form, men de ble n skret p en slik mte at bysten ble presset opp og frem heller enn bli presset flat. Skjringen foran ble ogs dypere og midjen noe smalere. Korsett, ca. 1. 73. Korsett og hoftestativ paniers, ca. Portrett av Madam de Pompadour, 1. Portrett av Madam du Berry, 1. Empire sent 1. 70. Den franske revolusjon i 1. Med empirmotens inntog ble de tidligere rhundrers rigide snreliv ble kastet, og erstattet med korsetter hvis primre oppgave var lfte og sttte bysten. Korsett, ca. 1. 80. Korsett, ca. 1. 81. Mod The Sims Clean Pack Installer. A crinoline k r n. Korsett, 1. 83. 0 1. Etterhvert som midjen gradvis krp tilbake p sin naturlige plass og ble mer definert, ble det igjen ndvendig med lengre korsetter og strammere snrt liv. S lenge klesdrakten holdt seg smal, var korsettene lange, men da skjrtene ble videre p 1. Korsettenes funksjon var n skape en smal midje. Korsettene hadde vanligvis en busk i front, og snring bak. Frem til omtrent 1. P dette tidspunktet var det ogs enerdende forme korsettet ved hjelp av kiler, men p slutten av 1. Dette ble stadig mer populrt, og etter omtrent 1. Etter dette kunne imidlertid panelene ha isydde kiler i bysten eller ved hoftene, for oppn nskelig form. Da krinolinen p 1. Disse korsettene, som gikk langt ned over hoftene, hadde en avrundet form. Fra 1. 88. 0 tallet ble formen hardere, med en skarpere overgang fra midje til hofte. I perioden 1. 88. I 1. 88. 6 ble det solgt over 5. Storbritannia. Illustrasjon av kvinne i korsett, 1. Korsett, ca. 1. 88. Kvinne i korsett, 1. Overgangen til det ny rhundret kom med en endring i kvinners silhuett. I stedet for at korsettene snrte inn litt over alt, skulle de n kun snre inn i siden og ryggen. Fronten ble skret rett. Denne silhuetten kalles S linjen, og illustreres i figurene nedenfor. S linjen hadde sitt hydepunkt i rene 1. Fra omtrent 1. 90. La crinoline est un sousvtement du XIX e sicle. Krinolna nebyla prvnm psluenstvm urenm k vytvarovn sukn nositelky do poadovanho tvaru spodnika se v rznch podobch nosila od. Corsets Crinolines Norah Waugh Pdf' title='Corsets Crinolines Norah Waugh Pdf' />Illustrasjon av den nye figuren. Forskjellen p viktorianske og edwardianske korsetter. Korsett med rett front, ca. I likhet med kvinner har herrer ogs modellert kroppen for at den skulle samsvare med det rdende skjnnhetsidealet. En slags type herrekorsetter er kjent fra 1. Dandy moten p begynnelsen av 1. Denne moten ble riktignok latterliggjort i datidens magasiner, og idealet med en smal midje gikk ut av motebildet p 1. Korsetter ble allikevel brukt bde av herrer med noen kilo til overs og av menn i kavaleriet gjennom resten av 1. Dandy i korsett, ca. En dandy snres inn i sitt korsett, ca. Herre i korsett, 1. Steele, Valerie 2. Jeff Mills Sequence A Retrospective Of Axis Records Rar on this page. The Corset A Cultural History. Yale University Press. ISBN 0 3. 00 0. Lynn, Eleri 2. Underwear Fashion in Detail. V A Publishing. ISBN 9. Lynn, Eleri 2. 01. Underwear Fashion in Detail. V A Publishing. ISBN 9. Carl Erik Grimstad Dronning Mauds arv s. Aschehoug, Oslo 2. ISBN 9. 78 8. 2 0. Kunzle, David 2. Fashion and Fetishism. Sutton Publishing. ISBN0 7. 50. 9 3. Waugh, Nora 1. 95. Corsets and crinolines. Theatre Arts Books. ISBN 0 8. 78. 30 5. Waugh, Nora 1. 95. Corsets and crinolines. Theatre Arts Books. ISBN 0 8. 78. 30 5. Willett, C. Cunningthon, P. The History of Underclothes. Dover Publications, New York ISBN 0. Steele, Valerie 2. The Corset A Cultural History. Yale University Press. ISBN 0 3. 00 0. Doyle, R. Waisted Efforts, A Illustrated Guide To Corset Making. Sartorial Press Publications. Kunzle, David 2. Fashion and Fetishism. Sutton Publishing. Lynn, Eleri 2. Underwear Fashion in Detail. V A Publishing.  Steele, Valerie 2. The Corset A Cultural History. Yale University Press. Utley, Larry 2. Fetish Fashion Undressing the Corset. Green Candy Press. Waugh, Norah 1. Corsets and Crinolines. Crinoline Wikipedia. A crinoline is a stiffened or structured petticoat designed to hold out a womans skirt, popular at various times since the mid 1. Originally, crinoline described a stiff fabric made of horsehair crin and cotton or linen which was used to make underskirts and as a dress lining. By the 1. 85. 0s the term crinoline was more usually applied to the fashionable silhouette provided by horsehair petticoats, and to the hoop skirts that replaced them in the mid 1. In form and function these hoop skirts were similar to the 1. The steel hooped cage crinoline, first patented in April 1. R. C. Milliet in Paris, and by their agent in Britain a few months later, became extremely popular. Steel cage crinolines were mass produced in huge quantity, with factories across the Western world producing tens of thousands in a year. Alternative materials, such as whalebone, cane, gutta percha and even inflatable caoutchouc natural rubber were all used for hoops, although steel was the most popular. At its widest point, the crinoline could reach a circumference of up to six yards, although by the late 1. By the early 1. 87. Crinolines were worn by women of every social standing and class across the Western world, from royalty to factory workers. This led to widespread media scrutiny and criticism, particularly in satirical magazines such as Punch. They were also hazardous if worn without due care. Thousands of women died in the mid 1. Alongside fire, other hazards included the hoops being caught in machinery, carriage wheels, gusts of wind, or other obstacles. The crinoline silhouette was revived several times in the 2. Christian Diors New Look of 1. The flounced nylon and net petticoats worn in the 1. In the mid 1. 98. Vivienne Westwood designed the mini crini, a mini length crinoline which was highly influential on 1. Late 2. 0th and early 2. John Galliano and Alexander Mc. Queen have become famous for their updated crinoline designs. Since the 1. 98. 0s and well into the 2. EtymologyeditThe name crinoline is often described as a combination of the Latin word crinis hair andor the French word crin horsehair with the Latin word linum thread or flax, which was used to make linen, describing the materials used in the original textile. Pre 1. Horsehair crinoline, 1. METDown quilted petticoat, British, 1. METThe crinoline was not the first garment designed to support the wearers skirts in a fashionable shape. Whilst the bell shaped skirts seen on statuettes from the ancient Minoan civilization are often compared to crinolines, particularly under the assumption that hoops were required to retain their shape, there is no evidence to confirm this and the theory is usually dismissed. The crinolines ancestors are more typically recognised as the Spanish verdugada, later known as the farthingale, widely worn in Europe from the late 1. The horsehair fabric called crinoline was first noted by 1. That year, Rudolph Ackermanns Repository of Fashions described the new textile as a fine clear stuff, not unlike in appearance to leno, but of a very strong and durable description it is made in different colours grey, and the colour of unbleached cambric are most in favour. Petticoats made of horsehair crinoline appeared around 1. By 1. 84. 7, crinoline fabric was being used as a stiffening for skirt linings, although English women preferred separate crinoline fabric petticoats which were beginning to collapse under the increasing weight of the skirts. One alternative to horsehair crinoline was the quilted petticoat stuffed with down or feathers, such as that reportedly worn in 1. Lady Aylesbury. 1. However, quilted skirts were not widely produced until the early 1. In about 1. 84. 9, it was possible to buy stiffened and corded cotton fabric for making petticoats, marketed as crinoline, and designed as a substitute for the horsehair textile. The artificial crinoline with hoops did not emerge until the 1. Late 1. 9th centuryedit. Cage crinoline with steel hoops, 1. LACMA1. 85. 0s6. The cage crinoline made out of spring steel wire was first introduced in the 1. British patent for a metal crinoline described as a skeleton petticoat of steel springs fastened to tape. July 1. Alison Gernsheim suggests that the unidentified French inventor was probably R. C. Milliet of Besanon, as the July 1. British agent, C. Amet. 1. 6 Milliet had already patented a tournure de femme in Paris on 2. April 1. 85. 6 which was described as comprising elastic extensible circles joined together by vertical bands. Following its introduction, the womens rights advocate Amelia Bloomer felt that her concerns about the hampering nature of multiple petticoats had been resolved, and dropped dress reform as an issue. Diana de Marly, in her biography of the couturier Charles Frederick Worth noted that by 1. One of the most significant manufacturers of crinolines was that of Thomson Co., founded by an American with branches across Europe and the United States. At the height of their success, up to four thousand crinolines were produced by Thomsons London factory in a day, whilst another plant in Saxony manufactured 9. In 1. 85. 9 the New York factory, which employed about a thousand girls, used 3. Douglas Sherwood factory in Manhattan used a ton of steel each week in manufacturing hoop skirts. Inflatable crinoline. John Leech for Punchs Pocket Book. The crinoline needed to be rigid enough to support the skirts in their accustomed shape, but also flexible enough to be temporarily pressed out of shape and spring back afterwards. Other materials used for crinolines included whalebone, gutta percha and vulcanisedcaoutchouc natural rubber. The idea of inflatable hoops was short lived as they were easily punctured, prone to collapse, and due to the use of brimstone in the manufacture of rubber, they smelled unpleasant. Although hard rubber hoops of gutta percha worked satisfactorily at first, they were brittle and easily crushed without recovering their form. Despite objections that the sharp points of snapped steels were hazardous,2. It reduced the number of petticoats and their weight, and offered increased freedom of movement of the legs. However, hasty or careless movements in a hoop skirt could lead to accidentally revealing more than intended. An advertisement published in The Ladys Newspaper in 1. Despite some claims, such as that by the historian Max von Boehm, that the largest crinolines measured up to ten yards 3. Alison Gernsheim concluded that the maximum realistic circumference was in fact between five and a half and six yards. Whilst a loosely gathered skirt draped over a large hoop would certainly require a higher yardage, Gernsheim noted that ten yard hems were highly improbable. Staged photographs showing women wearing exaggeratedly large crinolines were quite popular, such as a widely published sequence of five stereoscope views showing a woman dressing with the assistance of several maids who require long poles to lift her dress over her head and other ingenious means of navigating her enormous hoopskirt. Such photographs, which re enacted contemporary caricatures rather than accurately reflecting reality, were aimed towards the voyeurs market. However, it was a fact that the size of the crinoline often caused difficulties in passing through doors, boarding carriages and generally moving about.