Pre-War Spencers
| The Spencer corset company was formed
in the USA at about the same time as Spirella; we have no exact
date.
In Britain, however, the Spencer company was formed, as an offshoot of the American company, by the exotic, yet latterly reclusive, Dorothea Allen and her husband. They became fabulously wealthy of the proceeds of the corset business. On Dorothea's death, so reclusive had she become, that her estate lay unclaimed for years. She never wore a Spencer corset! |
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Spencer in the 1920's
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Even as early as the 1920's the Spenall makes its appearance. Note how the bosom has not yet been invented! |
Three almost identical front-lacing corsets from the Spencer catalogue of 1927, the differences being the underbelt on the right corset secured by three buckled straps on each side. The corset in the centre has the lumbo-sacral exterior strapping.
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The photographs above are so tastefully composed, and this was a hall-mark of Spencer for several of the earlier decades. Even the corset catalogues are beautifully bound with coloured prints on the front cover. A guide to dress-making of this era quotes that a corset is designed for three purposes:- 1) to support the figure; 2) to generate an outline on which the dress may be hung; and 3) to hold up the stockings. The last point should not be forgotten and explains the design of the corset and girdle for years before tights became fashionable in the 1960's and the consequent advent of the pantie-girdle. By today's standards, the stockings are very short coming about halfway up the thigh. During the 1920's, Deco advertisements became very popular.
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Spencer in the 1930's
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The gorgeous cover of the American Spencer catalogue of 1934 |
In 1932 (above), the same styles are echoed as in the 1920's. The differences are in hairstyle and the important fact that the brassiere has come of age. Little did the corsetieres of those days realise that the brassiere would become in the 1990's the only foundation that 99 percent of women would wear. Despite the up-market move by Barcley (a breakway from Spencer), these girdles from 1932, with the famous Spen-all (right of centre) are beautifully finished, and although Spencer hasn't gone to the expense of an antique chair, they have retained the bunch of flowers. In 1934, the models and poses are still quite beautifully photographed and posed, however, there is an oddity here. The 'vamps' below could have come straight out of Herman Wouk's 'Marjorie Morningstar' in which "Those divorcees in their tight corsets" look to snare another husband. The innocent flower on the right, however, wears a sacro-illiac corset that suggests that pregnancy is not unfamiliar to her!
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The Style Corset, the Spencerette and the Spen-all are still there in 1934.
Spencer in the 1940's
In the 1940's catalogues, a pink tint is added to the other wise black & white photographs. This lends an air of class and comfort to these products. The brassiere has developed further, although is not strongly advertised. The flowers remain part of the picture, as does the strange Spencer option of four front suspenders. Perhaps it represents a subliminal reminder to both corsetieres and clients that there was no limit to the extent of available options (and of course, the corsetiere's commission).
The Spen-all from 1941 and a well-disguised maternity corset. Notice the subtle half length side-lacers. Not only could these be adjusted, but they were made of elastic.
We've seen these corsets for the last three decades now, and the two on the right will be around for another amazing five decades, although by then selling only a minute fraction of their number in 1941.
These advertising pictures were quite expensive to make and some were used for several decades, particularly those portraying the less fashionable 'support' garments, whose wearers would be of an age where their own styles of hair would also come from a previous decade.
In reality, neither the models nor the garments were quite as alluring (although they could be). Below is a series of pictures of a mid-1940's Spencer corset. It is a type that has been worn by thousands of women. The material is relatively plain, the busk front fastening and large hooks date it pre-1950, as do the elaborate suspender clasps. Busk fastenings on conventional corsets lasted until the 1970's, however, the large hooks are largely pre-war or early post-war.
This corset has a number of interesting features. Busk front and large bottom hooks as mentioned previously. The underbelt is secured by four straps on each side; however, the photographer has not placed the belt under the front lacing. All too often the belt is imagined today as some sort of back support. The creases in the lower part of the garment indicate that it has been used as do the bending of the bones at the top of the back. These bones were normally bent before use by the corsetiere. In another photograph, the suspenders clasps are unevenly adjusted, again suggesting use. Oddly, the laces have no spare length for tying. Either the photographer re-arranged them to make the garment appear neater, or the original wearer had lost weight and found that the garment could be opened and closed with the busk alone, obviating the need for daily re-tightening of the garment..
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Barcley the renegade from Spencer
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Barcley was formed by a corsetiere who left Spencer to form her own company, which enjoyed success with very similar articles for over five decades. The Barcley company tried to appeal to a more upper crust clientele; however, as any astute businessman will tell you (and corsetry is first and foremost a business), there's more money to be made from a small profit on a large number of articles rather than a big profit margin aimed at a small niche market. However, the intent of Barcley is well illustrated by the late 1920's lithograph above, which graced the covers of their magnificent brochures.
Corsets and corselettes in gorgeous materials from the Barcley catalogue of 1927. Note the corset on the right, indeed most of the corsets, bear a strong resemblance to their humble Spencer beginnings. To be fair, most corsets look alike, and it is the subtle differences in cut and material that can make all the difference. One would have to get two examples side by side to make a fair comparison. That is unlikely ever to happen now.
Barcley expanded its business across the Atlantic to Britain. I don't know when this occurred but we have a number of post-War girdles and corsets in our collection that were manufactured inWelwyn Garden City (see below).
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We recently acquired two corsets at an auction. They were labelled 'Barcley' of Welwyn Garden City, Britain (just down the Great North Road from Spirella's Letchworth headquarters). They bear all the hallmarks of those above. The material of the first corset (left) is an exquisite silk/satin, however, the suspender tags appear to be late 1950's and the elastic is pristine. Nevertheless, the metal work is 1940's and has rusted somewhat. The garment is irritatingly difficult to date, but is definitely post-war. The label also boasts 'individually designed', just as a Spencer would have done. Was this Spencer using an old (rival) brand name to promote a superior version of their corsets, just as British Leyland re-invented the Riley and MG brands? The second corset (below) has an amazing four sets of lacing (front, back and both sides). It is also finished in a quality brocade and even has front suspenders, however, the satin loops sewn around the garments at hip level are a giveaway. This was no everyday corset, but a rather up-market measuring garment. The lack of use of both garments suggests that Barcley began to suffer, as would Spirella and Spencer, from the move towards tights and the panty-girdle. Unlike the latter two companies, Barcley never made a panty-girdle and thus ceased to exist in the 1970's. |
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Having made some assumptions about
Barley in Britain, we found another piece of late 1950's memorabilia in May
2006. The accurate date of manufacture comes from the wearer's son-in-law
who, displaying unusual, foresight, saved the garment as a period piece. The
girdle was made by Barcley in Welwyn Garden City, Hertfordshire and was
purchased from a corsetiere in 1959. The lady in question had many girdles,
and the Barcley was rarely used for a couple of years, and after the lady
lost weight, not at all. It is exquisitely constructed, and displays a
pattern unknown to Spencer. Even the inside of the front panel is made of
satin, and contains a series of 'chevron' bones; a style I had hitherto seen
only in France. Chevron Boning |
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The label has been reconstructed (left
- since it was folded) and displays the 'individually designed' tag that the
made-to-measure houses of Spencer and Spirella used to such good effect. The
girdle is definitely a very up-market example of its sort.
I wonder how many of these beautiful girdles have been discarded once their wearer had no more use for them? |
Ethel Granger - Barcley Corsetiere
Frangard 2 brought to my attention the fact that Ethel Granger of 13-inch waist fame or notoriety, depending on your viewpoint, was at one time a Barcley corsetiere. His account lies below:-
I was fortunate to get in close touch with a number of people of varying ages who had been friends with the Grangers between about 1958, when they made the headlines, and 1973 when Will Granger died. As a result I got many insights to their respective characters.
Will was clearly a very clever, but overbearing and probably argumentative man, a schoolteacher, a political radical but oddly enough, an extremely competent amateur astronomer, whilst Ethel was a pliant partner and participant in his body modification interests. Both Iris Norris and Diana Symes (Madame Medeq) who I knew, dealt with the Grangers and made corsets for them. Both liked Ethel, but not Will.
The biography shows that the Grangers, rather Will with Ethel in tow I suspect, also went the rounds of tight-lacing corset specialists between 1930 and 1956. Lenton, Mme Lorette, Ethel Kayne, Mme Vermeuil/eau (spelling varies) and Overett (Elliot?).
In 1956 when Madame Marie (Stafford) offended them by making an ill fitting corset, Will arranged for Ethel to become a Barcley corsetiere in the late 1950’s. Reading between the lines, this was probably a scheme to procure corsets at cost for Ethel, and it was probably a poor deal for Barcley. (I know of several corsetieres for Spirella and Jenyns who adopted the same strategy! - Ivy)
Will admits in his memoirs that Barcley employed Ethel before they saw the size of her remarkable waist, and were obliged to make corsets for her as part of the contractual agreement. However, tight-lacing was anathema to their principles and they really wanted rid of the couple!
(Personally, I find Ethel’s waist remarkable, but not anything I would want to achieve, although chance would be a fine thing! - Ivy)
