As you probably know, photographs – even portrait photos of ordinary people – were heavily retouched in the Edwardian era. But I didn’t expect that fashion advertisements in the Edwardian era were already as fake and unrealistic as today’s fashion photos! 🤣 I found an interesting article about corset models from the turn of the century.
Edwardian Corset Models – In Short
- Edwardian corset models had to have extreme measurements – even compared to Edwardian standards
- Edwardian corset models should wear as little underwear as possible during the photoshoot
- not the ready-made corset was used for the photoshoot but a corset specially fitted to the figure of the corset model
- ordinary corset laces were not strong enough to lace the corset model into the corset tightly enough: so extra sturdy shoe laces were used which still broke and cut the fingers
- the figure of the corset model must adapt to the corset, not the corset to the model – but in the ad it should still appear as if the corset is flexible enough to adapt to the buyer’s figure! 😂 This is just like today when ready-to-wear clothes from catalogs look completely different in real life!
- the corset photograph was heavily retouched and painted over by artists
- to make corsets for stout women look good in ads, the corset wasn’t photographed on a live model: it was photographed on a wooden form and the head, arms and skirt were painted! 🤣 Then the painting was photographed again for the corset ad
Edwardian Corset Models For Advertisements
‘Corset models […] pose for the purpose of showing off to the greatest possible advantage the different lines of corsets which are […] found in the catalogues of corset manufacturers […] It is quite an art to be able to select the model for just what is wanted. In the instance of a model for a corset the case is not ordinarily easy.
The greatest care and judgment has to be exercised, as the picture of the model on whom the corset is shown in the advertisement must show to the greatest advantage the perfections of the garment. […] The illustrator desires to get a person whose form is as near perfection of outline as possible. This is no easy task, and hence the great number of rejections of applications.
The disposition of the novice in the model’s line is of the best, for she is willing, may even be anxious, to pose, and when told that she is too stout or too thin she does not believe it, and goes away feeling hurt.
Measurements Of Edwardian Corset Models
The model, which is in great demand for such work, is she whose waist measures about 20 inches, with a bust of 38 and a hip measurement of 40 inches. A woman with such proportions can easily secure a position as a model and earn the money which she gets for the posing..’ (The Worcester Spy, 1899)
By the way, waist sizes smaller than 24 or 25 inches were considered strange and not pretty for ordinary women in the Edwardian era. And the article is obviously talking about the natural bust, waist and hip measurements without the often used padding. So the measurements of Edwardian corset models are very extreme!
Corset Specially Made To The Model’s Measurements
‘The work only begins when the model is secured, for after that follows a period of preparation. The model is first measured for a corset in which she is to pose. It is expressly cut and made for her under the supervision of the fitter at the factory where the corsets are made.
Upon their completion and the day set for the posing, the corsets are sent to the photograph gallery. Here the madam of the factory takes the model in charge and subjects her to a severe going over. She is given a careful toilet of the hair by a lady artist in this business and then she retires to the dressing room.
Corsets Photographed Over As Little Underwear As Possible
The corset is put on after the madam is satisfied that all unnecessary undergarments have been disposed of. Some models pose with less clothes on than others. And they could not by any stretch of the imagination be said to be overdressed, her toilet having stopped short with having put on her corset over a silk chemise, and skirt.
This is considered to be not so attractive, however, as where a more complete outfit of lingerie is worn. It is only where the cheap, flashy corsets are to be photographed that the abbreviated toilet is used in posing.
Tight Lacing With Shoelaces
Then comes the greatest difficulty, the putting on of the corset which has been made for the model. The corset is laced as tightly as possible. No ordinary corset lacing would do for such an occasion as this – heavy shoe lacing is what is used, and oftentimes the fingers of the madame are cut by her exertions in pulling the strings tight.
Related: 11 Tips On How To Lace & Put On A Corset By Yourself
The idea is to produce a corset which is ideal in shape and which will seem to be flexible in shape, giving the appearance of the figure fitting it rather than it fitting the figure. […]
Edwardian Models Cannot Pose
When the model is finally fitted to the satisfaction of the madame, and the illustrator […] she is ready for her sittings or posings, as they are professionally termed.
Suffering from being so tightly laced in to shape herself to the corset she must stand before the camera and take the most possible graceful pose. This is not easy. Her corset is stiff and seems to lend a gawky feeling to the model. It is impossible for her to “strike a position,” as the slang phrase has it. A great many of the models do not seem to know how to pose gracefully. When told to take a certain position they do it little better than the most bashful child and all kinds of angles are the result.
Then the illustrator has to take a hand in the matter and do the posing himself. That is to say he has to place her feet, her hands and dispose her whole figure so as to make the most graceful figure possible. And even at that the effect is not always what is sought and after the negative is made and finished she has to pose again. Graceful posings are what are wanted and the placing of the head to one side or looking at a flower or smiling pleasantly, all these things strike the generality of models as something they cannot do.
Waist Should Appear As Small As Possible
All this time the illustrator must not forget that he has got to keep an eye on the angle which the waist of the corset presents to the observer. It must always be the smallest possible.
All women are after the small petite waist, and a picture showing a waist with a too broad view, will not take with the woman purchaser. This makes three or four exposures necessary on the part of the photographer. Then again one position will not do, but a change must be made, else the impression will hold that it is the same picture. This means a great deal of work for the model.
Edwardian Photograph Retouching
If the proof of the posings is satisfactory, the photographer is ordered to go ahead with his work, and before he is through with it the picture has reached a stage of perfection as nearly as possible.
He retouches the features so as they will not be recognized. It is then given to an artist who takes it in hand, and all the parts, smoothing over the wrinkle and creasings in the undergarments and bringing out the silk stitchings in the corset and the edging which sets it off at the top and bottom. New curves are made in the garment to make it look as near as possible perfection. The background is gone over to make the picture stand out prominently, and then scroll work is done on the sides and tops of the card. Then it is ready for the plate-maker.
Edwardian Corsets For Stout Women
The different styles of corsets require different models. There are four of these, the long waist, the short, the medium and the stout. The matter of getting models for the first three is easy, but in the last it is impossible.
The corset which is made for the stout women is generally known as the “Dowager,” and to get a good cut to show it off to advantage, a great deal of expensive is entailed. A wooden model of a waist and bust with hips is made, upon which the corset is photographed, after which a head and shoulders, together with the skirt, are painted by an artist and the whole photographed again. This means an outlay of at least $200.’ (The Worcester Spy, 1899)