Corset of sturdy cotton twill with blue embroidery at bone tips. It’s displayed on a pillow, not a body!
Summer chemise of light cotton gathered into a wide neckband. Short sleeves prevent being seen under a ballgown.
Drawers of cotton with tatting at the bottom. Split for ease.
Cage crinoline of buckram covered wire with cotton twill tapes. Bumroll of cotton stuffed with wool batting. Displayed on Renaissance corset with embroidery and striped linen petticoat. (A little mixing of eras, here!)
Chemise of white cotton. Petticoat of white cotton with several tucks and a deep hem. Waist is stroked gathered into a waistband that buttons.
Early to mid-nineteenth century working corset of green linen. Boned with cane. Gussets and metal busk. Patterned cotton binding. These are the most supportive stays I have ever made.
Entirely corded corset. Double layered of twill cotton with cotton cords run tightly through channels. No front busk. It gives much flexibility and some support, but gentle figure shaping. Straps can be added for more support.
Corset that is partially boned and partially corded. The bones provide support and fashion shaping while the cords prevent wrinkling in the fabric.
Fully boned corset of twill with tape binding. Straight seams with no gussets.
Work petticoats of substantial cottons in stripes. Worn under the dress, but exposed when the dress is tucked up, these sturdy skirts protect white underpinnings from dirt. They are hemmed shorter to allow freedom of movement.
“Possum Polly” modeling how to wear underpinnings in an inappropriate setting! White cotton chemise. Boned corset of white drill with linen tape binding and bust gussets. Drawers of white cotton. Brown rat is not part of the “underpinnings” catergory!