Category: History

  • Maurice Wilson: Man of Fasting and Prayer

    The story of Maurice Wilson, fabled “Madman of Everest”

    Maurice Wilson. Image Source: https://archive.org/details/The_Childrens_Newspaper_0983_1938-01-22/page/n5/mode/2up/search/maurice+wilson?q=maurice+wilson)

    I once heard that every corpse on Everest was once one of the most motivated people in the world. There are many people in the world who could tell you the story of George Leigh Mallory. There are some that could tell you about Green Boots, and what he means to the mountain.

    I’d like to tell you about one of the lesser-known corpses, Maurice Wilson.

    Wilson’s early life was marred by WWI

    Maurice Wilson was born in 1898 and like many men of his age and time he ended up enlisting in the English services on his eighteenth birthday, during WWI. Maurice quickly ascended the ranks — he became a corporal during exercises after his enlistment and a lieutenant by the time they were even sent to France. Once he arrived, it was just in time for the Battle of Ypres (Battle of Lys), and there, with noted and award-winning pluck, he promptly earned the Military Cross for single-handedly taking and guarding a machine gun post after the rest of his unit was terribly injured (or dead).

    Battle of Ypres. A key event in Maurice’s Life. Source: Wikimedia Commons

    A few months later, our guy returned to the same place (I’m being literal, as it was once again in the town of Meteren), only this time as a captain. Once again he was caught by machine-gun fire — but this time fate decided to treat him less like a messiah and more like the rest of us. This time, Maurice was shot repeatedly in his chest and his left arm.

    Once it became apparent that he was strong enough to heal from being shot in the chest, he was moved to France, and eventually back to England to recover. He once again served with his unit, but since he didn’t fully recover the use of his left arm, I doubt they expected him to hold off a whole unit on his own.

    Wilson spent years wandering through places, wives, and careers

    For some unknown reason, when Maurice got back to his home town of Bradford from all of these horrors, he wasn’t in the right mindset to take over as director of his father’s weaving / woolen mill. Like many of his contemporaries, facing the horrors of war left his prior dreams faded and discarded, and — like many without an idea of what to do in life — he wandered.

    Maurice set off hoping to find his fortune and to attempt to address his nagging health injuries which definitely included a giant case of PTSD (possibly related to being shot in the chest while watching most of his friends die horrible deaths in trenches). Maurice wandered through London, San Francisco, and New Zealand just as he wandered through the careers of farmer, dress shop owner, and snake oil salesman. Since his snake oil was created from alcohol and opium, I’m pretty sure it at least relieved some pain for both his customers and Maurice, as he was dogged by illness (supposedly pulmonary tuberculosis) throughout his travels (Kaplan).

    Maurice found himself in worsening health and on a slow boat back to Britain after two failed marriages and years of wandering the world. It was during this journey that he had his foundational ideas of a ‘perfect life’ shaken. He found himself surrounded by a cross section of people of varied class and lifestyles — all of whom seemed more fulfilled than he had ever felt. At this time he also engaged in conversations with Hindu sadhu, and according to his diaries and letters, they were as fascinated with him as he was with them (though this could be his ego talking).

    Maurice was confident that he had found peace and a home in London when he returned there, but instead, he found himself a nervous breakdown.

    A plan takes shape

    At this point, Wilson’s story depends entirely on the man’s account itself — which was that he met a mystic who advised him to fast heavily and pray. Maurice disappeared for a few months, returned, and — by all accounts — was recovered. Powter recounts a story by personal friends of Maurice Wilson’s wherein he says “I’ll show the world what faith can do, I’ll perform some task so hard and so exacting that it could only be carried out by someone aided with Divine Help — I’ll climb Mount Everest alone!”

    Maurice now needed a plan, which he found in the form of a torrent of articles flooding papers at the time regarding plans for a flight over Everest. Maurice decided he’d try to convince them to allow him to parachute to Everest. The salesman in him recognized a big opportunity in using the latest tech to try and aid him in his new quest.

    It’s important to take a moment and appreciate Maurice’s climbing resumé, but not too long of a moment since it was nonexistent. This is in stark contrast to, say, George Mallory, who had a decent climbing resumé for the time — and died on the mountain. So obviously, if Maurice could pull this off, it would be due to Divine Intervention.

    This is a recognizable thought process if you have spent a lot of time studying the Bible (either as literature or as writ of God). To give God (or whatever) the glory for something, it can be weirdly important to some prophets and mystics that the vessel for this feat is also incompetent. That way, it’s super obvious that it was God doing all the special stuff.

    Unfortunately for Maurice, those embarking on the 1933 Houston flight expedition wanted it to succeed, and they felt that Maurice’s plan of an ‘unencumbered’ race to the summit of the highest mountain in the world directly after parachuting onto it was going to take more than “a tent, a sleeping bag, warm clothing, food, and faith.” ( Powter).

    Maurice had pluck, faith, and confidence. Talent, experience, and a strong plan — not so much. Undeterred by the rejection, he doubled down on his new identity as a mountaineering pilot, and used people’s reactions as a springboard to attempt to bring them into his mission. His first step was to buy a plane that he dubbed “Ever Wrest.”

    The more Maurice Wilson was rejected in his pursuit of the summit, the more it strengthened his resolve. When people mocked his style of dress, it made him more certain of his destiny. When he was made fun of for taking twice as long as other pilots to learn to fly, he still returned, ready to face the next lesson. When he messed up his ankles trying to learn to parachute, he decided to crash land. He hired one of his friends to be a PR guy.

    Maurice Wilson completely threw himself into this expedition — except for learning to climb glaciers, learning to climb in snow, or buying any climbing equipment. When he trained, it was by walking many miles of rolling English countryside.

    Chomolungma, or Mount Everest. Aerial view. Source: Wikimedia Commons

    Himalayas in his sights

    Because of this (and possibly many other facts), Wilson was repeatedly denied permits and allowances to crash land into the mountain. Shocking that bureaucrats wouldn’t let him, I know — especially since he had crashed to see his parents, requiring three weeks of repairs to the Ever Wrest. Despite the fact the Air Ministry telegrammed him on the day of departure that he was forbidden the necessary permissions, he set out for India from Stag Lane Airfield on May 21, 1933.

    This would have been a daunting trip for experienced pilots of the time, much less one that had only logged 19 training hours in acquiring their pilot’s license — but not for Maurice. Despite fuel difficulties, arrest, and (I’m not kidding) lack of all the actual maps he’d need — Maurice Wilson made it to India in under two weeks.

    He attempted to use the buzz his success generated to convince authorities India to approve his petitions to crash his plane into the mountain and allow him to begin his assault on the summit. The authorities responded largely by having his plane impounded, which forced Maurice to eventually sell it to meet his expenses as monsoon season approached.

    Maurice plotted in Darjeeling how to get past the authorities, who were not going to allow him past Sikkim. After spending months fasting for up to three weeks at a time and going for training walks in Darjeeling while waiting out the monsoons, Maurice finally gathered three Sherpa to begin his ascent of the mountain. Per his plan, Maurice dressed as a Tibetan monk and left Darjeeling with Rinzing, Tewang, and Tsering Sherpa on March 31, 1934. To cover his departure with the hotel, he paid many months in advance and claimed he was going on a tiger shoot.

    From there, the information we have about his life is relegated merely to the diary he kept with him (which now resides in the Alpine Club Archives after being found by the Shipton Expedition in 1935). The Sherpa lead him through night marches that finally brought him through Sikkim, and once they arrived in Tibet, he doffed his disguise and traveled in the day. Despite complaining that he felt he was on the mountains of the moon, he even often managed to walk twenty miles in a day.

    On the Road to Everest: The view of Everest from Rongbuk Monastery. Source: Wikimedia Commons

    He beat the pace of the 1933 Ruttledge expedition (he was fiercely competitive with them) to the Rongbuk Monastery by 10 days. It was here that he impressed the Lama, who gave him access to the Ruttledge equipment that they have left behind — so I guess he didn’t have to buy all that pesky equipment after all. He was so anxious to beat the Ruttledge expedition’s metrics that he spent only 2 days resting at the monastery before taking off on April 16th, alone, to walk the route he read about.

    Unfortunately, all of the books he read were in the tone of hearty Englishmen who were used to climbing up mountains, not wandering hills. Their tone was often dismissive of the real trials that it took to travel across the different terrains the mountains had to offer, and it would have fed Maurice Wilson’s already false sense of confidence.

    Maurice climbs Everest alone

    Despite all of this and a 45-pound pack, Wilson made good progress on the first day, until he reached the Rongbuk glacier. And this is where fate decided to treat Maurice Wilson less like a messiah and more like the rest of us. His reading and theories failed him, and he became terribly lost in a changing maze of ice.

    In the end, you can’t prepare for Everest by looking at even the most accurate of maps, because it can’t prepare you for the reality of an ever-changing, moaning ice landscape.

    After three days of wandering around this glacier, cutting random paths of useless steps with his ice axe, he finally found Camp II. There, he found a pair of crampons, and tossed them aside because they weren’t food. At this point, the weather became far more hostile, and he only advanced 250 vertical feet in six hours the next day.

    He made it pretty close to Camp III before being pinned in by a blizzard, where he wrote in his diary “Discretion is the better part of valor . . . It’s the weather that has beaten me — what damned bad luck!” (Wilson via Unsworth, pg 242). Yeah. The weather.

    Luck once again intervened, and he managed to stagger back down the glacier and to the monastery and the waiting Sherpa. Unfazed, he immediately wrote in his diary about how he intended to head back up. It would take him eighteen days to heal to the point where he could, during which Tsering fell so ill he was unable to leave Rongbuk with the rest of the team.

    Tewang and Rinzing set out with Maurice on the 12th of May, and they reached the site of Camp III in three days, availing themselves of a ‘bounty’ of food supplies that had been cached from the Ruttledge expedition. Maurice abandoned his dietary restrictions, and even tucked into a box of chocolates. He bemoaned in his diary the waste of equipment and supplies by the prior expedition.

    Once again, Wilson was beset by a blizzard, which confined the three of them to camp by a blizzard. It was then that he wrote an entry in his diary that really put his ignorance of mountain climbing in perspective, “Not taking short cut to Camp V as at first intended as should have to cut my own road up the ice and that’s no good when there is already a handrope and steps (if still there) to Camp IV.” (Wilson via Unsworth, pg 243). On the 21st, he managed to get some scouting done with Rinzing despite headaches, but found that all traces of the prior expedition were gone.

    The next day, he tried to climb the col alone, and set out for four days, until he came upon a 40-foot ice wall. Wilson camped below the chimney, and then spent a futile day attempting to climb it, and ended up staggering back into Camp III on May 25th. He spent the next two days trying to convince the Sherpa that he should continue forward, until on the 29th he tried once again to set out for his goal and set out alone for the col, and it camped at its foot, not far from Camp III. He spent two days resting and gathering strength before he wrote in his journal “Off again, gorgeous day” on 31st May and walked into history.

    Maurice Wilson was born at a time that forced him into the unbelievable violence of WWI, where his first skirmish reinforced ideas of granduer before he was plunged into his own suffering. The war deposited him into a world that didn’t understand the mental anguish of her protectors, and to deal with his pain, he did what many do and set himself a large goal. Unfortunately, the goal he set had the price of failure set at death — and now, Maurice Wilson rests forever on Everest until global warming causes him to slip from his resting place. . . again.

    Sources

    Printed Media:

    Unsworth, Walt. Everest. The Mountaineers, 1989

    Wing and a Prayer

    The Curious Case of Maurice Wilson and his Doomed Quest for Mt. Everest – In 1933, two decades before Mt. Everest was…

    www.climbing.com

  • Learning About An Antique Singer Sewing Machine

    The resources I used to learn about my new-to-me Singer.

    I love old treadle sewing machines, and I’ve romanticized them since a relatively young age. I’ve been vaguely looking for an antique sewing machine for over a year, and I was picky about it. Once you start looking for them you find them cropping up everywhere, and I allowed myself to be as selective as I wanted.

    I didn’t want to pay too much (nor could I). I preferred a pure treadle, not one with power. I wanted to be able to learn on it and maybe even fix it up if necessary, and I really preferred if it was a Singer.

    Yesterday we noticed an Estate Sale that was in a temporary space. You know, one of those spaces that often becomes a Spirit Halloween?

    We went in and I felt my usual pull towards linens and other cloth when I saw it.

    Here she is, all moved in. Excuse my crafting corner (My spinning wheel, Bonesy, is happy for new company). Image Source: Author

    I had been looking at these things long enough to know:

    It was a Model 15 Singer

    It was in what looked like pretty damn good shape.

    At $65 telling myself no was going to be hard.

    Of course I bought that Singer.

    Singer Sewing Machine. Image Source: Author.

    Sewing machines were the first complex mass-manufactured machine. Isaac Merrit Singer’s ability to market his sewing machine is what cemented its role in part of sewing history.

    He’s not the inventor of the sewing machine, or even the inventor of the domestic sewing machine. It’s far more hairy than that.

    Like every sewing machine inventor around him at the time, Singer would either have to license or steal the design of the lock-stitch (an invention by Elias Howe) to make his machine happen. The lock-stitch was due to Howe’s innovation of placing the eye of the needle at its point.

    Lock Stitch Animation. Image Source: Wikimedia Commons

    Howe was a ‘non-practicing entity’ that was backed by a well-financed business partner. That means — Howe didn’t actually use his patent, he licensed it to others for use, and used the financial resources he had to litigate those he felt infringed it. What happened next, would leave such an impression on Howe who later also filed a patent for “Automatic, Continuous Clothing Closure” (zipper) — but never did anything with it. As a fun pop-up factoid, The Beatles dedicated the movie Help! to him.

    Back to our boy Singer. Singer decided to ask for forgiveness rather than permission and stole the whole lock stitch thing and put it into his patent model for his sewing machine. He also threw some other improvements in there — a vertical needle and horizontal working surface,

    Singer’s Sewing Machine Patent Model. Image Source: https://americanhistory.si.edu/collections/search/object/nmah_1071133

    Singer wasn’t the only one working on the device, and with all of the frenzied development a ‘patent thicket’ developed. A patent thicket, a term that wouldn’t be developed until the 1970’s, is when there’s a bunch of overlapping rights. Innovators are forced to make deals, and in the Sewing Machine Wars, that’s exactly what happened.

    In a deal brokered by sewing machine competitor / lawyer Orlando Brunson Potter, the Sewing Machine Combination gave each of the four stakeholders (including Howe and Singer) partial ownership in a patent that combined their concepts into the first ‘patent pool.’ Each of those four stakeholders received a percentage of the earnings of every machine. Three innovations are written about as particularly important: Howe’s lock stitch, the four-motion feed contributed by Wheeler and Wilson, and Singers’s vertical needle / horizontal sewing surface.

    But what Singer knew how to do better than any of them, was market them. And — he offered payment plans.

    He apparently also knew how to father children because he had 22 of them. Whew.

    Singer Serial Number. Image Source: Author.

    Anyway, my model of Singer isn’t the first. It’s not rare, or a special version. It’s not overly old. There’s no special, ornate plate. There anything particularly superlative about it other than it’s with me right now, and I adore it.

    You might think “Jamie, How can you tell any of this stuff about that thing?” and the answer is you take that Serial Number and head over to the International Sewing Machine Collectors Society webpage. There, you can find the Singer Serial Number Database.

    Using that, I could find out that mine was a model 15, and its allotment date (I’m calling it the birth date) was March 27, 1950.

    To find out that it was an 88 took a bit more sluething, but it wasn’t difficult. For something so popular and well-known, there’s a lot of material out there. And for the longest time, this sewing machine and others a lot like it reigned supreme.

    Basically, the 15–91 uses a potted motor, the 15–89 has a hand crank, and the 15–88 has treadle.

    My machine is obviously a 15–88. In the shot below you can see there’s no potted motor, and no hand crank.

    My lovely little singer. Image Source: Author.

    Once I popped it open I also realized that this machine was probably either serviced or fully restored — or was close to never used. That thread in the shuttle was my fault! It’s unreal how clean this machine is.

    Singer Sewing Machine, 15–88. Image Source: Author.

    The tension assembly works so perfectly.

    Singer 15–88 Tension. Image Source: Author.

    I was able to use the Internet Archive to find the manual, which Singer also has on their website. I haven’t found an issue that wasn’t due to my ignorance (or to it needing a bit of oil here and there, which is to be expected. There hasn’t been an issue where someone doesn’t have instructions on how to fix it (or they weren’t already in the manual).

    The decal. Image Source: Author

    The stitch length is just … there’s no comparison. Modern machines that I’ve had can’t do it.

    I’ve already managed to sew through 4 ounce leather, around 6 layers of wool coating — this machine is a champ. I was originally thinking of sewing up the shirt I’ve done all the smocking on by hand — but it might be the perfect time to learn to work with my new lovely lady!

    The other advantage? It came with a full complement of feet.

    Carnival of Feet! Image Source: Author

    I was delighted to find specific instructions how to use each one in the manual. The inclusion of all these feet make it a a sure thing that this will be my daily use machine.

    I’ve sewn a bit on it (a black chemise) and I love working with this machine. It’s quiet and soothing to use, the treadle motion is a lot like my spinning wheel, and it makes it easy to control the machine’s speed. There are a lot of times where I’ve felt confident in working with my other machine, but that confidence seemed to come much more quickly with my new ‘Iron Lady’.

    Now, I just have to think of a name.

    Sources:

    https://en.wikipedia.org/wiki/Singer_Corporation#/media/File:Singer_Sewing_Machine_Patent_Model,_No._8,294,_1851.jpg

    https://slate.com/technology/2013/12/sewing-machine-patent-wars-of-the-1850s-what-they-tell-us-about-the-patent-system.htm

    https://www.smithsonianmag.com/smithsonian-institution/how-singer-won-sewing-machine-war-180955919/

    https://en.wikipedia.org/wiki/Elias_Howe

    Domestic Sewing Machine Co., 'It stands at the head' (front)

    https://oldsingersewingmachineblog.com/

  • What I Learned By Sewing and Wearing An 1890’s Working Woman’s Corset

    I’m just going to say it, I really like the way I look in a corset.

    Left: Victorian corset ad (source) // Right: Victorian corset (source)

    A confluence of things six months ago first lead me to the strange thought that I could sew a corset. The thought that I could sew one lead me straight to the idea that I should.

    I’m not alone in such notions — there’s been such an explosive interest in the integration of historical clothing into modern wardrobes that it has its name, ‘history bounding.’ There’s also no shortage of YouTube tutorials for corsetry that covers everything from sewing techniques to an in-depth analysis of how each corset style affects the body’s shape.

    A drawing of an 1878 corset. Anonymous/Unknown author, Public domain, via Wikimedia Commons

    There’s also a fair amount of misinformation about corsetry, and learning how to spot the myths made the project exceptionally enticing.

    Interestingly, our society tends to acknowledge the quackery rampant in the time while simultaneously upholding some of the ‘science’ around corsetry that was produced.

    In the most simple terms, a corset is a structured support garment that molds the torso into a particular shape.

    Corsets evolved from stays, the structured support garment that molded the torso into a conical shape in the 1700s. Corsets continued to adapt, change, disappear, and reappear (as fashion is wont to do).

    As part of my project to recreate a working woman’s corset from the 1890s, I’ve sewn my corset and have been wearing it for around 14 hours a day for the last two months.

    I’ve learned a lot through the process!

    Victorians were highly aware of the newest materials and methods. Corsetry showed that.

    Corsets (and stays, their predecessors) manage the task of body molding by having a series of bones of rigid material. Some corsets feature only cording to perform this task, which is where strong cords are sewn between layers of cloth to create that rigid structure. I’m sure you can imagine that the more work has to be done to make the body conform to the ‘fashionable shape,’ the more work has to be performed by those bones (and their placement).

    Whale gums. Not kidding.

    Baleen. Image By Anon at NOAA Fisheries Service — ; a US government site. Image in Public Domain, https://commons.wikimedia.org/w/index.php?curid=139185

    Traditionally the bones in stays and corsets were most often made from baleen, the part of a whale’s gums that acts as a feeding filter.

    That’s what’s being referred to in corset-making where it’s called ‘whalebone,’ even though it’s not a bone.

    In an article by Smithsonian magazine, they found that the baleen of toothless whales can be a way to study their lives, likening the substance to the rings of a tree.

    By the late 1800s, thankfully, the use of steel boning was becoming more common because, essentially, baleen was getting too expensive. The working women’s corset I modeled mine after, is named the “Pretty Housemaid” (it was marketed to housemaids) and documented and patterned in Jill Salen’s Corsets: Historical Patterns and Techniques. This particular design had minimal boning, instead depending on the cording for shaping.

    While baleen has a lot of properties to keep in mind when selecting modern boning for a replica corset, there are many options to choose from that have different uses for boning in corsetry. Flat steel bones next to the lacing prevent puckering of the fabric when pulled tight.

    Also, feathers. Quills, actually.

    Victorians also used ‘featherbone,’ which is boning made from the quills of feathers. For modern corsetry, Spiral steel bones allow scant flexibility in one direction. Rigilene generously allows for movement but doesn’t have a lot of long-term durability. For those looking to do as true to history recreations as they can, there’s a plastic-based synthetic whalebone. For those with a time or budget crunch, zip ties can also be used!

    After reading about how the Victorians approached their lives, I felt free to adapt and use the material that best suited my needs, which is very Victorian indeed.

    Textiles involve a lot of work, thus textile history involves a lot of suffering.

    Even beyond using whale gums to make clothing and hunting birds to extinction to make hats, the history of textiles and clothes involves suffering. Reading about it can be difficult because the thought that someone, somewhere was suffering to make all of that grand, cloth-hungry clothing happen is never far from my mind.

    The Peacock Dress, a pretty dress with a horribly bloody, colonialist history. You bet she’s tightlacing that corset, too. By William Logsdail — http://artuk.org/discover/artworks/mary-victoria-leiter-18701906-lady-curzon-172109, Image in Public Domain, https://commons.wikimedia.org/w/index.php?curid=31465017

    From the horrors of the colonialist practices of England to, well, actual slavery —it should go without saying that the history of textiles is dripping with blood.

    There are a lot of conversations happening in the historical costuming community about that history, how to appropriately deal with that history, and how to ensure we learn from it.

    I have been a geek about creating and using cloth for decades, and I can tell you that even the smallest square of cloth takes intense labor that many people reading this are sheltered from considering.

    There’s an incredible amount of labor represented in just creating the fiber that’s used to create cloth.

    Milling and spinning that fiber into a usable yarn represents more. It takes only one time warping a loom to understand how physically demanding that part of textile work is. To keep these things clean and in use and in rotation for a household was even more incredibly labor-intensive and used materials we don’t even want to contemplate (lye and urine spring to mind).

    Doing any kind of study into textile arts or historical dress will intersect with the enormous human toll these tasks took. Invariably, those tolls were paid by those with little to no power.

    The Victorians loved a good corset horror story.

    The Victorians in general were wild for any weird story they could get. The freakier and stranger the better, and it was no different for corsets. One paper clipping from the Chico Record in 1897 documents how lightning struck three girls, and the only survivor was the one not wearing a corset (the steel bones of the corset directed the ‘electric fluid.’ If it could be sensationalized and sell newspapers, then that’s what got printed.

    The Victorians loved to document, which makes it a great period to make garments from.

    If you want to get into historical sewing, the Victorian period is a great period, because the Victorians loved to document their lives and practices. There’s also some amazing work at restoring, recording, and patterning extant garments.

    My favorite way to learn how to make the garments is mainly from their sewing manuals and correspondence courses. Manual of needlework and cutting out : specially adapted for teachers of sewing, students, and pupil-teachers by Agnes Walker, The Keystone Jacket and Dress Cutter by Charles Hecklinger, Household Sewing with Home Dressmaking by Bertha Banner (1898), and A Manual of Exercises in Home Sewing by Margaret Blair (1863) are some of my favorites. You can find a lot of these little gems on archive.org (and you’ll also find them repackaged and re-sold on Amazon, if you want copies in print).

    While these sources aren’t as helpful for corsets as the Symington Corset Pattern archive hosted at Image Leicester along with amazing step-by-step instructions (or even Aranea’s Black exceptional free patterns), they are all a wonderful look into what the Victorian woman had on her mind (and in her sewing pile) at the time. You’ll also find that Victorian women’s clothes had plenty of pockets (yet another great reason for history bounding).

    It was the Victorian’s love of fastidious documentation that has made it a wonderful period of fashion to recreate and be inspired by.

    No matter what you’ve seen, they didn’t wear corsets next to their skin.

    If you’re interested in making a corset, the first thing you should make for yourself is a chemise. Not only is it great practice, but it’s also a necessity. No matter what you’ve seen on TV or in the movies, corsets weren’t worn next to the skin — that was the job of the chemise (which helped to keep the corset clean, too!). This is especially true if the intent is to tight lace.

    I thought that making the chemise was just a chore I was going to have to do before I got to make the corset — and instead I have been enjoying several different patterns and types of chemises and integrating them into my wardrobe, too! This necessary layer not only protects my skin from being pulled and pinched by the corset, but it keeps me from getting it too dirty.

    Chemises, after all, are far easier to wash than corsets.

    Men wore corsets, too.

    It’s well-documented. The slim-waist was in, all around.

    Victorians loved showing off what their machines could do.

    The cording in the mockup I’ve been wearing for two months before sewing the final version. Image Source: Author.

    While I appreciate those who hand-sew all of their garments as part of historical recreations, I know that Victorians would love using a machine to do the work. It was a real theme for them.

    The sort of cording found in the corset that I decided to recreate is extensive and serves as a way to show off the capability of the machine and its operator in addition to giving structure and shape. There are two main ways I know of to make corded cloth. In one, you can either sew thin channels and then use a bodkin or other long, slender needle to pull the cord through the channel. The other involves carefully placing the cord against the last seam and then sewing right up against it to create the channel. Either way, having these extensive corded panels was a good way to show off all the abilities of one of the newest inventions: the sewing machine.

    The tiny Victorian waist was partially an optical illusion.

    A perfect cylinder, somewhat like what a corset creates, will appear to be smaller than the more elliptical human-torso form. Even when I only lace down to match my uncorseted measurements, I appear like I have a much smaller waist.

    My dress form and me while working with a mockup — both have the same size waist. Image Source: Author

    Victorians knew the power of good angles and optical illusions and took as much advantage of that as we do. Why else do you think they had dresses that featured enormous sleeves and the bustled bottom?

    “But what about their tiny clothes, we’ve measured them?” you might ask.

    The other important factor to consider here is survivability bias — the teeny-tiny clothes survived because no one wore them.

    Not every Victorian woman tight-laced her corset, or even wore one.

    There was an improvement between stays and corsets that allowed for more reduction of the waist, and that was the metal grommet. Before the adoption of metal grommets, lacing was done through hand-sewn eyelets which didn’t have the same durability against tight lacing (though certainly many did perform some moderate waist reduction with their stays). It was all of their technology that allowed Victorian ladies to tight-lace down to impossibly small sizes. (Don’t forget, however, that Victorians also knew how to perform trick photography.)

    Crown and Scepter from Colusa Daily Sun commenting that Queen Victoria and Princess Beatrice eschew corsets. Volume VII, Number 13, 15 November 1892.

    Just like with high fashion today, not everyone attends to all fashion trends. Queen Victoria herself stopped following fashion and stopped wearing corsets (and this was noted in papers). In 1881 the ‘Rational Dress Society’ was formed in London, encouraging a movement away from tight-laced corsets and widening skirt hoops. Women interested in rational dress would sometimes wear skirts over a pair of pantaloons named “Bloomers” for Amelia Bloomer, the temperance activist that fiercely advocated for their use in her temperance magazine ‘The Lily.’ Clearly, not every woman tight-laced her corset: the main use for such an undergarment was to support a fashionable silhouette.

    The Victorians understood more about textiles than we do.

    For the most part, people spent more time with their textiles before the invention of the washing machine and consumable fast fashion. Because of the labor intense processes and expense of the cloth, the Victorians valued and treasured their textiles far more than we do. Overall they embraced sustainable practices such as mending and clothing transformation far more than we do (they also helped bring consumerism to the forefront so I don’t want to overly lionize them or anything here).

    There is an amazing understanding that happens when you start to create something, and I’ve learned so much about cloth from the processes of creating it from the fiber up —lessons that were baked into the day-to-day life of the Victorians. If I have hand-knit a pair of socks, there’s a way for me to mend and darn them, and I’m far more likely to because it takes a long time to hand-knit socks.

    The cloth-savviness of the Victorians didn’t stop at how they cared for it.

    The Victorians used layering and the properties of different fiber content to their advantage. They ensure that linen, the cloth that was most likely to stand up to the brutalities of repeated washing, was worn next to the skin, leaving the fine silks and wools free of the body’s filth. They understood how friction between layers would create heat, and that layers created from bast fibers of plants would wick sweat from the body.

    While the Victorians had some pretty horrific societal values and a remedial understanding of germs and disease — they knew an awful lot about their cloth.

    Sewing the Pretty Housemaid corset mockup. Image Source: Author.

    There are some real surprises in corset construction.

    The flossing has a purpose.

    When the corset is corded, it starts to have a shape all of its own.

    The moments you put the bones in, it’s like the corset comes to life.

    Sewing the busk taught me a level of anxiety I didn’t think possible in a hobby.

    Seam construction is crazy: sew wrong sides together and welt the seams with bias tape wasn’t what I was expecting.

    There were a lot of things that surprised me about the way the corset was constructed, and in some of my mockups, I intentionally did things wrong to see how they contributed to the garment’s longevity and wearability.

    Victorian sewing manuals allowed for many different body types.

    Many of the sewing manuals will walk the reader through sewing adjustments for the stooping form, the ‘stout’ form, the ‘erect’ form — in other words, they acknowledged that people came in all sorts of shapes, and helped sewists adjust for those shapes. There was an ideal form. Corsetry and appropriate patterning help one achieve that form.

    The corset was integral for many to be able to achieve that ideal shape.

    Split-crotch drawers made a lot of sense after I wore a corset.

    So does the saying, ‘shoes before corset.’

    I just have to come out and say it — modern underwear doesn’t play super great with Victorian corsets, it’s hard to tuck the underwear up under the bottom edge of the corset when you’re all finished. So the very first time I had to struggle to get my elastic-waisted underwear under my corset, those split-crotch drawers suddenly made a lot of sense to me.

    Fashion / Dress History is still a young field and establishing itself but has so much to offer due to its experiential nature.

    To get this sort of figure requires corsetry to reduce the waist, tilt the hips, and enhance the bust — the corset could do all three. Image source: Public Domain, New York Public Library.

    Once the topic is given any consideration it’s clear that not only is fashion a form of art, it also has a lot to say about history.

    Perhaps it was misogyny that kept academics from taking a more serious look at the field, or perhaps it’s just easy to forget how important a tool clothing is.

    Regardless of the reason it was ignored for so long, there’s a huge interest in fashion history that is growing steam.

    Dress history and textile history will become more important as humankind seeks out more sustainable practices.

    My corset is comforting to me.

    I’m just going to say it, I really like the way I look in a corset. It also encourages me to have good posture throughout the day. The process of drafting and scaling a pattern showed me a lot of things about myself. Being able to wear the corset and use it as a tool has helped me understand a lot about sewing and a lot about the Victorian mindset. Wearing it gives me confidence not just in how I look, but in my capabilities.

    What they say is true — to make a corset, all you need to do is sew a straight line.

    And make a lot of mockups.

    After a corset, making a lobster tail bustle isn’t hard.

    Image Source: Author.

    Article Sources:

    Pretty Housemaid Corset, 1890
    Woman’s Pretty Housemaid corset made by the Symington company. A best seller of its time, made of twill lined with…imageleicestershire.org.uk

    https://www.unseenhistories.com/victorians-redressed

    Which boning should I use for corset making?
    Metal corsetry boning was invented in the 1800’s by the Victorians when their preferred corset boning of choice…www.sewcurvy.com

    Women in Trousers – From Bloomers to Rational Dress
    Escaping ‘the kingdom of fancy, fashion and foolery’ “The 1848 Women’s Rights Convention was the first of its kind to…helenrappaport.com

    Victorian dress reform – Wikipedia
    Victorian dress reform was an objective of the Victorian dress reform movement (also known as the rational dress…en.wikipedia.org

    Chico Record — 16 June 1897

    By Jamie Toth, The Somewhat Cyclops on .