Description: 1927 TREO GIRDLE WOMEN FASHION UNDER CORSET GARMENT FLAPPER SPORT YORK AD 28804 DATE OF THIS ** ORIGINAL ** ILLUSTRATED COVER: 1927SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: GIRDLE Mary Brooks Picken defined girdle as a "flexible, light-weight shaped corset, made partly or entirely of elastic. Worn to confine the figure, especially through the hip line." Merriam-Webster's Collegiate Dictionary offered: "A woman's close-fitting undergarment often boned and usu. [sic] elasticized that extends from the waist to below the hips." Neither definition does full justice to the undergarment that changed shape, materials, and functions through its six decades of prominence in women's wardrobes, from the 1910s through the 1960s. Girdles evolved continuously to take advantage of new fibers and fabric structures and to respond to each new silhouette in women's outerwear. Pantie girdles came on the scene when substantial numbers of women began to wear pants. Initially, girdles appealed to younger women and teen girls, but women of all ages eventually wore some type of girdle, before control-top panty hose supplanted the girdle's functions for all but the most conservative women. The modern girdle's origin may be traced to the short hip-confiners worn over corsets during the early 1900s, but the term itself began to assume its contemporary meaning in the mid-1910s. Treo, an early manufacturer, applied the term girdle to its flexible Para rubber corsets without laces. Competing terms to describe girdles included the French ceinture, belt, and sash. In 1916, Stanford Mail Order Company, New York, marketed girdles to "Misses and Small Women." At the outset, girdles were associated with youth and informality, in part because their light control suited the figures and activities of a younger clientele. However, rubber "reducing girdles" were sold to weight-conscious women of all ages. Flappers And Girdles In the famously unconstrained 1920s, teens and young women, collectively termed flappers, generally abhorred the heavy corsets on which their mothers depended for figure control. Fashionable young women often rolled their stockings and limited underwear to a wispy bandeau and step-in panties. By the mid-1920s, as a contoured silhouette began gradually to return to women's fashions, flappers and other fashionables accepted garter belts and light girdles. The advertising agency J. Walter Thompson reported the views of a Manhattan department store buyer thus: "widely talked of abandon [sic] of corsets was a myth. Even flappers wear something, if it's only a garter belt or corselette." Girdles of the 1920s usually extended from natural waistline to hipline, came in white or peach-tone knit elastic, and were worn over step-ins. More conservative girdles included woven brocade panels over the tummy and derriere. Generally priced from $1 to $6 dollars, girdles appealed to the budgets of young women. Thriving During The Depression In the 1930s, technology and fashion converged to produce styles of girdles that sold by the millions, despite the persistence of the business depression. Unit sales of girdles topped 20.6 million in 1935 alone ("The Corset," Fortune, March 1938). Technological innovation arrived in the form of Lastex, an extruded (spun) rubber latex yarn covered by mercerized cotton. Put on the market in autumn 1931, Lastex made possible the lightweight twoway stretch girdles that gained wide appeal, especially with young customers, for their ability to move with the body. Lastex hand-washed easily and provided control without boning, though some girdles added a few bones and often had nls of woven fabric to tame front and rear Warner made knitted Lastex girdles, whereas Kops Brothers specialized in woven two-way stretch fabrics. By the end of the 1930s, makers had devised tubular, seamless knitted girdles and knits of differential density and tension for molding different parts of the wearer's anatomy. Fashion also contributed to the survival of girdles. Throughout the 1930s, dress silhouettes gradually became fuller in the bust, slimmer and higher in the waist, and gently curved and elongated in the hips. Compared with the changes in bust contours and bras, where aggressive uplift held sway by 1939, girdle shapes altered only subtly. Fashion's overall trimness of line meant that all but the very young and slender needed a girdle (or corselette) to wear a chic dress well. Fashionable women's 1930s wardrobes began to include pants, primarily for active sports, gardening, and strictly informal social events. Enter the pantie girdle. Beginning about 1934, pantie girdles constituted a staple in the lines of many manufacturers. Most panties had garters, because stockings continued to be worn under pants, but a few styles featured removable garters or special leg bands to hold down the girdle when socks were worn or the woman went barelegged. Regular girdles were marketed for all purposes, from housework to evening parties, and at prices that ranged from 59 cents to $15 dollars. Like bras, girdles sold mainly in peach (like present-day nude) or white, but by 1939 at least a couple of makers offered black girdles. "Talon slide fasteners"—zippers—appeared in slightly heavier or fancier girdles. Talon argued that roll-on girdles caused frustrating tugging matches. A girdle could be as short as eight inches—like a glorified garter belt—but most came in ten-, twelve-, fourteen- and sixteen-inch lengths, varying with both the height of the wearer and her need for control at the hip and waist. Girdle manufacturing was widely dispersed during the 1930s, with many of the 240 corset companies ("The Corset," Fortune, March 1938) producing some type of girdle. Some stores featured private-brand girdles, but generally the industry divided between prestige-brand makers and small, marginal firms. Even the better-known companies split between those grounded in corset-making, such as Maidenform and Formfit, and those derived from knit underwear makers, including Carter, Kayser, and Munsingwear. Wartime Retrenchment And Postwar Expansion New fibers and innovative marketing might have constituted the core of the girdle story in the 1940s but for the hiatus of World War II. Nylon, introduced for hosiery in 1939, was offered in girdles in 1940; Formfit and other companies marketed all-nylon and blended-fiber girdles by that autumn. Nylon and Lastex created strong, light powernet, so effective in girdles for the junior market. Latex film Playtex all-way-stretch girdles offered another route to smooth control. As war approached, the U.S. government took possession of strategic textiles, including nylon and latex. Regulation L90 stipulated allowable amounts of elastic in girdles and other undergarments; however, neither Lastex nor nylon wholly disappeared from girdles or bras. Small sections of elastic provided some relief from rigidity. Knitted fabrications helped too, but wartime girdles often looked and felt dowdy to young customers. Pantie girdle sales held up well, because women working in armaments factories often wore pants or coveralls, which looked better over a pantie girdle. Slim and fit girls just wore garter belts or inexpensive briefs with garters. Late in the war, synthetic rubber neoprene appeared in girdles, but was overshadowed by the newly plentiful nylon and Lastex. With wartime seriousness forgotten, pink, blue, rose, black, and plaid girdles gladdened consumers' hearts. Embroidered touches, including custom sorority emblems from the new Olga Company, lent glamour to formerly stodgy foundations. The biggest news, however, came from the outerwear silhouette. American dress and girdle styles were moving tentatively toward fuller hips and smaller waists as early as fall 1945, but the 1947 French New Look took the trend much further, faster. Girdles rose in the waistline, swelled in the hip, and even returned to selective lacing to achieve the newly desired hourglass effect. American brands pursued a more moderate line, in order not to alienate customers—especially the all-important teenagers, who demanded comfort, easy care, and flexibility in their girdles. Far longer-lasting than the New Look was the new marketing, presaged before the war by Playtex's packaging of its Living Girdles in tubes for self-service. Other girdle and bra makers followed suit after 1945, and the old tradition of corsetieres fitting customers began a slow decline. A corset is a support garment commonly worn to hold and train the torso into a desired shape, traditionally a smaller waist or larger bottom, for aesthetic or medical purposes (either for the duration of wearing it or with a more lasting effect), or support the breasts. Both men and women are known to wear corsets, though this item was for many years an integral part of women's wardrobes. Since the late 20th century, the fashion industry has borrowed the term "corset" to refer to tops which, to varying degrees, mimic the look of traditional corsets without acting as them. While these modern corsets and corset tops often feature lacing or boning, and generally imitate a historical style of corsets, they have very little, if any, effect on the shape of the wearer's body. Genuine corsets are usually made by a corsetmaker and are frequently fitted to the individual wearer. Etymology The word corset is a diminutive of the Old French word cors (meaning "body", and itself derived from the Latin corpus): the word therefore means "little body". The craft of corset construction is known as corsetry, as is the general wearing of them. (The word corsetry is sometimes also used as a collective plural form of corset). Someone who makes corsets is a corsetier or corsetière (French terms for a man and for a woman maker, respectively), or sometimes simply a corsetmaker. In 1828, the word corset came into general use in the English language. The word was used in The Ladies Magazine to describe a "quilted waistcoat" that the French called un corset. It was used to differentiate the lighter corset from the heavier stays of the period. Fashion The most common and well-known use of corsets is to slim the body and make it conform to a fashionable silhouette. For women, this most frequently emphasizes a curvy figure by reducing the waist and thereby exaggerating the bust and hips. However, in some periods, bodies (tudor era corsets) have been worn to achieve a tubular straight-up-and-down shape, which involved minimizing the bust. For men, corsets are more customarily used to slim the figure. However, there was a period from around 1820 to 1835—and even until the late 1840s in some instances—when a wasp-waisted figure (a small, nipped-in look to the waist) was also desirable for men; wearing a corset sometimes achieved this. An "overbust corset" encloses the torso, extending from just under the arms toward the hips. An "underbust corset" begins just under the breasts and extends down toward the hips. A "longline corset"—either overbust or underbust—extends past the iliac crest, or the hip bone. A longline corset is ideal for those who want increased stability, have longer torsos, or want to smooth out their hips. A "standard" length corset will stop short of the iliac crest and is ideal for those who want increased flexibility or have a shorter torso. Some corsets, in very rare instances, reach the knees. A shorter kind of corset that covers the waist area (from low on the ribs to just above the hips), is called a waist cincher. A corset may also include garters to hold up stockings; alternatively, a separate garter belt may be worn. Traditionally, a corset supports the visible dress and spreads the pressure from large dresses, such as the crinoline and bustle. At times, a corset cover is used to protect outer clothes from the corset and to smooth the lines of the corset. The original corset cover was worn under the corset to provide a layer between it and the body. Corsets were not worn next to the skin, possibly due to difficulties with laundering these items during the 19th century, as they had steel boning and metal eyelets that would rust. Light linen or cotton shifts (also called chemises) were worn beneath corsets to absorb sweat and protect the corset and wearer from each other, and also to function as underwear and protect other garments from the wearer and their sweat. The corset cover was generally in the form of a light chemisette, made from cotton lawn or silk. Modern corset wearers may wear corset liners for many of the same reasons. Those who lace their corsets tightly use the liners to prevent burn on their skin from the laces. Construction Corsets are typically constructed of a stiff material, such as buckram, structured with boning (also called ribs or stays) inserted into channels in the cloth or leather. In the 18th and early 19th century, thin strips of baleen (also known as whalebone) were favoured for the boning. Plastic is the most commonly used material for modern corsets and the majority of poor-quality corsets. Spring and/or spiral steel or synthetic whalebone is preferred for stronger and generally better quality corsets. Other materials used for boning have included ivory, wood, and cane. Corsets are held together by lacing, usually (though not always) at the back. Tightening or loosening the lacing produces corresponding changes in the firmness of the corset. Depending on the desired effect and time period, corsets can be laced from the top down, from the bottom up, or both up from the bottom and down from the top, using the bunny ears lacing method. Victorian corsets also had a buttoned or hooked front opening called a busk. If the corset was worn loosely, it was possible to leave the lacing as adjusted and take the corset on and off using the front opening. (If the corset is worn snugly, this method will damage the busk if the lacing is not significantly loosened beforehand). Self-lacing was how women would dress as help was usually unnecessary as long as a mirror was handy. Comfort In the past, a woman's corset was usually worn over a chemise, a sleeveless low-necked gown made of washable material (usually cotton or linen). It absorbed perspiration and kept the corset and the gown clean. In modern times, a tee shirt, camisole, or corset liner may be worn. Moderate lacing is not incompatible with vigorous activity. During the second half of the 19th century, when corset wearing was common among women, sport corsets were specifically designed for wear while bicycling, playing tennis, or horseback riding, as well as for maternity wear. 18th century Stays evolved in the 18th century, during which whalebone was used more, and increased boning was used in the garment. The shape of the stays changed as well. While they were low and wide in the front, they could reach as high as the upper shoulder in the back. Stays could be strapless or use shoulder straps. The straps of the stays were generally attached in the back and tied at the front. The purpose of 18th century stays was to support the bust and confer the fashionable conical shape, while drawing the shoulders back. At that time, the eyelets were reinforced with stitches and were not placed across from one another, but staggered. That allowed the stays to be spiral laced. One end of the stay lace was inserted into the bottom eyelet and knotted, and the other end was wound through the eyelets of the stays and tightened on the top. Tight-lacing was not the purpose of stays at that time. It was not possible until metal eyelets were introduced, in the mid-1800s. Women of all levels of society wore stays, from ladies of the court to street vendors. During that time, there is evidence of a variant of stays, called "jumps", which were looser than stays and had attached sleeves, like a jacket. Corsets were originally quilted waistcoats, which French women wore as an alternative to stiff corsets.? They were only quilted linen, laced in the front, and unboned. That garment was meant to be worn on informal occasions, while stays were worn for court dress. In the 1790s, stays began to fall out of fashion. That coincided with the French Revolution and the adoption of neoclassical styles of dress. It was the men, so-called dandies, who began to wear corsets.? The fashion persisted through the 1840s, though, after 1850, men who wore corsets claimed they needed them for back pain. 19th century In the early 19th century, when gussets were added for room for the bust, stays became known as corsets. They also lengthened to the hip, and the lower tabs were replaced by gussets at the hip and had less boning. Shoulder straps disappeared in the 1840s for normal wear. In the 1820s, fashion changed again, with the waistline lowered to almost the natural position. That was to allow for more ornamentation on the bodice, which, in turn, saw the return of the corset to modern fashion. Corsets began to be made with some padding, for a waist-slimming effect, and more boning. Some women made their own, while others bought their corsets. Corsets were one of the first mass-produced garments for women. They began to be more heavily boned in the 1840s. By 1850, steel boning became popular. With the advent of metal eyelets, in 1827 tightlacing became possible. The position of the eyelets changed. They were situated opposite one another at the back. The front was fastened with a metal busk. Corsets were mostly white. The corsets of the 1850s–1860s were shorter, because of a change in the silhouette of women's fashion, with the advent of the hoop skirt or crinoline. After the 1860s, as the crinoline fell out of style, the corset became longer, to shape the abdomen, exposed by the new lines of the princess or cuirass style. In 1855, a woman named Frances Egbert had trouble with her corsets, due to the front steel pieces constantly breaking as a result of strain. Consequently, her husband, Samuel Barnes, designed "reinforced steels" for Egbert's corsets. Barnes filed a patent for the invention 11 years later, and Egbert collected the royalties on this patent for 15 years following his death. Following the case of Egbert v. Lippmann, the US Supreme court deemed Barnes's and Egbert's patent as "public". For dress reformists of the late 19th century, corsets were a dangerous moral evil, promoting promiscuous views of female bodies and superficial dalliance with fashion whims. Health risks, such as damaged or rearranged internal organs, infertility, and inability to perform "womanly" duties, such as caring for children or cleaning house, were said to be caused by tightlacing, and that has been acknowledged by experts. However, tightlacing was very scandalous and was extremely uncommon. The large majority of women wore corsets every day without extreme detrimental effects. Eventually, the reformers' critique of the corset joined a throng of voices clamoring against tightlacing. Doctors counseled patients against it and journalists wrote articles condemning the vanity and frivolity of women who would sacrifice their health for the sake of fashion. While tightlacing is dangerous, it was fairly uncommon, and was seen as quite shocking by the majority of women, in addition to men. Whereas for many, corseting was accepted as necessary for health, support, and an upright military-style posture, dress reformers viewed tightlacing, especially at the height of the era of Victorian morality, as a sign of moral indecency. American women active in the anti-slavery and temperance movements, with experience in public speaking and political agitation, wore sensible clothing that would not restrict their movement, although corsets were a part of their wardrobe. While supporters of fashionable dress contended that corsets maintained an upright, "good figure", and were a necessary physical structure for a moral and well-ordered society, dress reformers maintained that women's fashions were not only physically detrimental, but "the results of male conspiracy to make women subservient by cultivating them in slave psychology". They believed a change in fashions could change the position of women in society, allowing for greater social mobility, independence from men and marriage, and the ability to work for wages, as well as physical movement and comfort. In 1873, Elizabeth Stuart Phelps Ward wrote: Burn up the corsets! ... No, nor do you save the whalebones, you will never need whalebones again. Make a bonfire of the cruel steels that have lorded it over your thorax and abdomens for so many years and heave a sigh of relief, for your emancipation I assure you, from this moment has begun. Despite those protests, little changed in fashion and undergarments up to 1900. During the Edwardian period, the straight-front corset (also known as the S-Curve corset) was introduced. That corset was straight in front, with a pronounced curve at the back that forced the upper body forward and the buttocks out. The style was worn from 1900 to 1908,? and was originally conceived as a health corset, which was a type of corset made of wool and reinforced with cording, and promoted the alleged health benefits of wearing wool next to skin. It was sold as an alternative to the boned corset. However, the S-Curve corset became the framework for many ornate fashions in the late 1890s and 1900s. 20th century The corset reached its greatest length in the early 20th century. At first, the longline corset reached from the bust down to the upper thigh. There was also a style of longline corset that started under the bust, and necessitated the wearing of a brassiere, a style that was meant to complement the new silhouette. It was a boneless style, much closer to a modern girdle than the traditional corset. The longline style was abandoned during World War I. The corset fell from fashion in the 1920s in Europe and North America, replaced by girdles and elastic brassieres, but survived as an article of costume. Originally an item of lingerie, the corset has become a popular item of outerwear in the fetish, BDSM, and goth subcultures. In the fetish and BDSM literature, there is often much emphasis on tightlacing, and many corset makers cater to the fetish market. Outside the fetish community, living history reenactors and historic costume enthusiasts still wear stays and corsets according to their original purpose to give the proper shape to the figure when wearing historic fashions. In this case, the corset is underwear rather than outerwear. Skilled corset makers are available to make reproductions of historic corset shapes or to design new styles. In the late 1940s and early 1950s, there was a brief revival of the corset in the form of the waist cincher sometimes called a "waspie". This was used to give the hourglass figure as dictated by Christian Dior's "New Look". However, use of the waist cincher was restricted to haute couture, and most women continued to use girdles. Waspies were also met with push-back from women's organizations in the United States, as well as female members of the British Parliament, because corsetry had been forbidden under rationing during World War II. The revival ended when the New Look gave way to a less dramatically-shaped silhouette. In 1968, at the feminist Miss America protest, protestors symbolically threw a number of feminine products into a "Freedom Trash Can". They included corsets, which were among items the protestors called "instruments of female torture", and accoutrements which they perceived to enforce femininity. Since the late 1980s, the corset has experienced periodic revivals, all which have usually originated in haute couture and have occasionally trickled through to mainstream fashion. Fashion designer Vivienne Westwood's use of corsets contributed to the push-up bust trend that lasted from the late 1980s throughout the 1990s. Those revivals focussed on the corset as an item of outerwear rather than underwear. The strongest of the revivals was seen in the Autumn 2001 fashion collections and coincided with the release of the film Moulin Rouge!, in which the costumes featured many corsets as characteristic of the era. Another fashion movement, which has renewed interest in the corset, is the steampunk culture that utilizes late-Victorian fashion shapes in new ways. 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