Dictionary:
cor·set (kôr'sĭt)  |
To enclose in or as if in a corset.
[Middle English, bodice, from Old French, diminutive of cors, body, from Latin corpus.]
| How Products are Made: How is a corset made? |
Background
The corset is an undergarment traditionally made of stiffened material laced tight to the body in order to slim a woman's waist. Evidence shows that some type of waist-cinching garment was worn by Cretan women between 3000 and 1500 B.C., but narrow waists became the fashion among women in Europe during the Middle Ages. Women from that period wore a forerunner of the corset, called a body or stay, or a pair of stays. The rigid, bust-to-hip corset became popular in the sixteenth century and persisted in various guises up through the middle of the twentieth century. It was considered beneficial to women's health by some doctors and writers, while others considered the constricting garment a virtual torture. Corset making was a specialized sub-sector of the garment industry. Tailors called staymakers were experts in the fitting and forming of corsets, which were sewn laboriously by hand. With the development of elastic textiles, corsets eventually became more yielding. Around the 1930s, women's fashions started emphasizing a more natural figure and the corset gradually became extinct. The closest thing to a modern corset is the all-in-one foundation undergarment.
History
Archaeological evidence shows that women wore surprisingly modern-looking undergarments as far back as 3000 B.C. in Babylonia. A Cretan figure dating from about 2000 B.C. was unearthed by British archaeologist Sir Arthur Evans in the late nineteenth century. It showed a bare-breasted woman with a tiny waist cinched tight by what looks like a ribbed belt. Ancient Greek writings refer to a women's undergarment made of linen or kid, cinching in the waist, and perhaps flattening the bust. Roman women also probably wore some sort of undergarments, but the general style was for long and loose clothing. This style persisted, for both men and women, through the Middle Ages. It was around 1150 that European women's clothing had a recognizable waistline. This was accomplished by lacing in an otherwise loose dress. A twelfth century British manuscript gives evidence of a tightly laced "shapemaker" worn as an outer garment.
The tailoring skills to make intricately cut and shaped clothing did not really develop in Europe until the middle of the fourteenth century. About this time, women began wearing an undergarment of stiffened linen, tightened by front or back laces. In the fifteenth century this item was known as a pair of stays or bodies in English and corps or cors in French. The English word corset presumably comes from a version of the French cors. At first corsets were made of two layers of linen, held together with a stiff paste. The resulting rigid material held in and formed the wearer's figure.
From the sixteenth century on, corset makers started using thin pieces of whalebone—shaped like quills or knitting needles—in between two layers of corset material. The whalebone corset was much more confining than the paste-stiffened one and often worn in conjunction with other undergarments that further exaggerated the female shape. In Queen Elizabeth's time, the fashion among the court classes was for a long, stiff corset reaching from the bust to below the natural waistline, paired with a huge, whale bone-stiffened hoop skirt called a farthingale. In the nineteenth century, women wore their corsets along with a cage-like hoop contraption—a crinoline—that held her skirts far out to the sides and back. The corset also accompanied the bustle, a padded device that emphasized the woman's backside. Corsets changed with fashion, becoming longer or shorter, supporting the bust or minimizing it, depending on the whim of the day.
Improvements in the manufacture of latex in the early 1930s led to workable elastic threads that could be woven or knitted into fabric suitable for undergarments. Soon the elastic corset became the norm. This was a much more flexible garment than the earlier rigid corset, and as the garment changed the name changed too. What had been called a corset became the roll-on, then came the step-in and the corselette. By 1940, women's underwear in Europe and the United States had evolved in favor of a two-piece arrangement; a brassiere for the bust and a roll-on or panty-girdle for the waist. The corset returned briefly after World War II in the guise of the waspie—a short, boned corset to wear with the tight-waisted dresses in high style at the time—but was never an everyday item again.
Health effects of the corset
European women throughout the Victorian era wore tightly laced corsets that were assuredly uncomfortable and in many cases actually injurious to health. Young girls were put in corsets to grow accustomed to the restrictiveness. Many illustrations and contemporary references from the turn of the century depict the painful process of tightening the corset. The corset wearer would lie on her stomach on the floor, while someone else put a foot on her back and pulled the laces. Women who perpetually wore tight corsets suffered from a variety of health problems, including deformed spines and ribcages, difficulty breathing, and compression of the internal organs. Around the turn of the century, several corset makers introduced new corsets designed by doctors. These aimed to support a woman's figure without undue compression.
In the early twentieth century, upper-class women had more access to physical activities such as sports and bicycling. With the tango craze just before World War I, women took to removing their corsets before a dance. Corset manufacturers introduced sports and dance corsets to accommodate these new activities. While some corsets were becoming looser and more comfortable, women were still admonished to wear them. Though some doctors spoke out about the danger to women's health of tight lacing, a conflicting and equally scientific-sounding opinion claimed that going without a corset was unnatural and unhealthy. Historical evidence—from the Cretan figurine to cave paintings—was used to uphold the idea that women had always needed figure support. One popular opinion was that evolution was more difficult for women than for men and the corset was essential to keep women upright. Thus only a small, radical minority actually advocated abandoning the corset.
Raw Materials
Corsets were made of a variety of materials, depending on the time period and the fineness of the article. The main fabric for the body of the corset might have been linen, stiffened with paste or starch. Lower-class women would have worn corsets of a cheap, sturdy cotton cloth. Corsets were also made of decorative fabrics like satin or silk.
The whalebone used to stiffen corsets was technically not bone at all but the teeth-like structures, called baleen, of a baleen whale. Baleen whales have hundreds of horny plates arranged in their upper jaws that serve to sieve tiny marine animals out of the water. Baleen is somewhat of an intermediary material between horn and hair, made up of many parallel hair fibers encased in hard enamel. Each baleen plate is about 10 in (25.4 cm) wide and 9-13 ft (2.74-3.96 m) long. Baleen can split along the parallel fibers and—when softened by steam—is easily shaped. Once dry, it holds its shape proving to be an enormously useful material for corset-making. Over-fishing led to the demise of baleen whale populations, and corset makers were driven to find substitute materials. They used cane or steel, and later plastic. The corset maker inserted thin slivers of whalebone into the corset to hold its shape. Whalebone was also used in some corsets for a front piece called the busk. The busk gave a smooth line to the front of the corset and was also sometimes made of wood, horn, or steel.
Metal eyelets for corset lacing were introduced in France in 1828. Elastic was used in corsets as early as the 1890s, but at first this material was suitable only for small shaped pieces called gussets. Around 1930, manufacturers learned to extrude latex into long fibers, making it possible to knit or weave a variety of elastic fabrics. Elastic became the norm in corsets and other undergarments in the 1930s.
Corsets were finished with a variety of decorative effects, including lace and ribbon. The thread used to stitch the corset together may have been strong silk or waxed cotton, depending on the garment.
Design
Corsets were designed to fit exactly to an individual wearer, otherwise the effect was lost or the garment would be even more uncomfortable. Though a corset maker might follow a standard design, each had to be modified for the individual customer's height, weight, and figure. For a fine corset, the wearer would be fitted twice. First, the corset maker made basic measurements of the customer's torso, then cut the material to measure. The garment was roughly sewn, using long stitches called tacking. The customer was then fitted again and any adjustments noted. The tacking was undone and the corset sewn back together, using fine, short stitches.
In terms of the fashion aspect of design, the corset changed along with the mode of dress. If dressmakers brought out a line of small-waisted gowns, then corset makers obliged them with tight corsets. The fashionable figure of the "Gibson Girl" in the early years of the twentieth century brought on a craze for the S-curve corset, which thrust the bust forward and the hips back. In the 1920s, the flapper style of dress needed no corset or only a straight-lined, non-constricting one. As noted above, several doctors designed what they considered healthful corsets, and corset makers also responded to cultural trends, such as the tango, by producing special use corsets.
The Manufacturing
Process
Corsets were most often made by specialized corset makers. Elaborate corsets required great ingenuity in cutting and stitching and each had to be specially ordered and fitted, but simpler corsets for every day could be made at home. The following manufacturing process is for an eighteenth-century corset made by a professional corset maker.
Quality Control
Corsets were generally very finely constructed articles made to order, so quality control was not an issue. In the 1930s, when corsets were waning in popularity, the corset industry made a concerted effort in the United States to train corset saleswomen in "scientific" fitting. Clerks in department stores specialized in corset fitting and generally spent a long time with customers, making sure each left with a suitable garment. Controlling the quality of the fit was very important and depended on a knowledgeable sales force.
Byproducts/Waste
The most notable byproduct of corset manufacturing was the whale. Though whales were also hunted for their oil, it is a fact that the craze for corsets and hoop skirts led to an over-fishing of baleen whales. By the end of the sixteenth century, the Atlantic Right whale was almost extinct in the popular Bay of Biscay fishing ground. When Biscay whales became hard to find, the whaling industry moved to waters off Greenland. This fishing ground was also seriously depleted by the late eighteenth century. After the 1840s, Bowhead whale were hunted for their whalebone, primarily caught by American fishermen in the Arctic. Whale oil was not used much after the discovery of petroleum in 1859, so whales hunted in the late nineteenth century were killed almost exclusively for their baleen. The Bowhead was almost completely extinct by the early twentieth century, just as the use of corsets was declining and new elastic materials made whalebone obsolete.
Where to Learn More
Books
Ewing, Elizabeth. Dress and Undress. London: B. T. Batsford, Ltd., 1978.
Shep, R. L. Corsets: A Visual History. Mendocino, CA: R. L. Shep, 1993.
Waugh, Norah. Corsets and Crinolines. London: B. T. Batsford Ltd., 1954.
Periodicals
Fields, Jill. "Fighting the Corsetless Evil: Shaping Corsets and Culture, 1900-1930." Journal of Social History (Winter 1999): 355 ff.
[Article by: Angela Woodward]
| World of the Body: corset |
A close-fitting garment, tightened by laces and reinforced with stays to shape the body from the hips to the breasts. Laced outer garments to shape the body existed from antiquity, but laced undergarments date from the end of the sixteenth century. A ‘pair of bodies’ was tied at the sides and stiffened at first by paste on linen or cardboard, and later by a removable busk — a flat, tapered strip of wood, ivory, horn, or whalebone — inserted down the centre front to keep the body straight. Later, the ideal of a smooth, cylindrical torso, seen in Queen Elizabeth I (1533-1603), was achieved by sewing strips of rigid materials, such horn, ivory, silver, or steel, into the bodies, which became known as stays. Bodies were originally waist-length, but the stays gradually lengthened over the hips, split into tabs and met in a point below the waist. The favourite shaping material of stays was whalebone (baleen), cut into thin strips and sewn in a fan pattern to make the torso appear rounder. Though earlier stays did not shape the breasts, by the mid eighteenth century whalebone strips curved around the bosom. Stays dictated very straight posture and necessitated stylized dance movements. As body carriage was essential to good deportment, both girls and boys were dressed in stays at an early age.
The nineteenth-century corset separated the breasts and extended over the hips by the addition of gussets. Some closed in front with metal clips, some laced in back, and some laced in front. Metal eyelets, invented in 1828, allowed for very tight lacing. By the end of the century corsets produced the sinuous body shape of the Gibson girl, with a protruding bust and derrière, and small waist. Despite reports of 18-inch waists, historians have found no Victorian garment with less than a 20½ inch waist.
Tight-lacing generated criticism almost from its inception. Clerics fulminated against the vanity of the fashion as well its sexual nature. Some women viewed corseting as a form of self discipline (an attitude favoured by the Puritans) and the essayist Montaigne recognized how heroically women bore pain to be attractive. Physicians and social critics argued that the corset caused a number of health problems, including spinal deviations, breast cancer, consumption, digestive abnormalities, miscarriages and other obstetrical problems, mental and moral impairment, and even death. During the second half of the nineteenth century, Punch and other humourists satirized the corset.
Tight-lacing has not been limited to women. King Henri III (1551-89) wore stays to accentuate his slim figure. At the end of the eighteenth century, dandies began to wear stays, and the fashion became popular around 1815 with military officers and persisted until the end of the century. Though corsets left the fashion mainstream in the early twentieth century, tight-lacing has been and continues to be part of fetish-dressing for both men and women. Some male cross-dressers wear corsets, and the singer Madonna has appeared on stage in corsets with projectile breast cones.
— Kristen L. Zacharias
| Britannica Concise Encyclopedia: corset |
For more information on corset, visit Britannica.com.
| Columbia Encyclopedia: corset |
| Wikipedia: Corset |
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This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations where appropriate. (May 2009) |
A corset is a garment worn to mold and shape the torso into a desired shape for aesthetic or medical purposes (either for the duration of wearing it, or with a more lasting effect). Both men and women are known to wear corsets, though women are more common wearers.
In recent years, the term "corset" has also been borrowed by the fashion industry to refer to tops which, to varying degrees mimic the look of traditional corsets without actually acting as one. While these modern "corsets" and "corset tops" often feature lacing and/or boning and generally mimic 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 should ideally be fitted especially for the individual wearer.
Contents |
The word corset is derived from the Old French word cors, the diminutive of body, which itself derives from corpus - Latin for body.
The word corset came into general use in the English language in 1785. The word was used in "The Ladies Magazine" to describe a "quilted waistcoat" called un corset by the French. The word was used to differentiate the lighter corset from the heavier stays of the period.
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 (see photo). However, in some periods, corsets have been worn to achieve a tubular straight-up-and-down shape, which involves minimizing the bust and hips.
For men, corsets are more customarily used to slim the figure. However, there was a period from around 1820 to 1835 when an hourglass figure (a small, nipped-in look to the waist) was also desirable for men; this was sometimes achieved by wearing a corset.
An overbust corset encloses the torso, extending from just under the arms to the hips. An underbust corset begins just under the breasts and extends down to the hips. Some corsets extend over the hips and, in very rare instances, reach the knees (example). A shorter kind of corset, which 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 for that).
Normally a corset supports the visible dress, and spreads the pressure from large dresses, such as the crinoline and bustle. Sometimes 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 nineteenth century, as they had steel boning and metal eyelets which would rust. The corset cover would be in the form of a light chemise, made from cotton lawn or silk.
People with spinal problems such as scoliosis or with internal injuries may be fitted with a form of corset in order to immobilize and protect the torso.
Andy Warhol was shot in 1968 and never fully recovered, and wore a corset for the rest of his life.
Aside from fashion and medical uses, corsets are also used in sexual fetishism, most notably in BDSM activities. In BDSM, a submissive can be forced to wear a corset which would be laced very tight and give some degree of restriction to the wearer. A dominant can also wear a corset, often black, but for entirely different reasons, such as aesthetics, and to achieve a severe, armored, "unbending," commanding appearance. A very common fetish costume for women is the dominatrix costume. Usually it consists of mostly dark or even black clothing. The woman usually wears a corset or bustier and stockings with high heeled footwear. High boots are quite common as they enhance the woman's domination. Most women in dominatrix costumes carry an accessory such as a whip or a riding crop.
Corsets are typically constructed of a flexible material (like cloth, particularly coutil, or leather) stiffened with boning (also called ribs or stays) inserted into channels in the cloth or leather. In the 19th century, steel and whalebone were favored for the boning. Featherbone was used as a less expensive substitute for whalebone and was constructed from flattened strips of goose quill woven together with yarn to form a long strip (Doyle, 1997:232). Plastic is now the most commonly used material for lightweight corsets and the majority of poor quality corsets, whereas spring or spiral steel is preferred for stronger corsets and generally the better quality corset too. Other materials used for boning include ivory, wood, and cane. (By contrast, a girdle is usually made of elasticized fabric, without boning.)
The craft of corset construction is known as corsetry, as is the general wearing of them. Someone who makes corsets is a corsetier or corsetière (French terms for a man and for a woman, respectively), or sometimes simply a corsetmaker. (The word corsetry is sometimes also used as a collective plural form of corset.)
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 two laces that meet in the middle. It is difficult — although not impossible — for a back-laced corset-wearer to do his or her own lacing. In the Victorian heyday of corsets, a well-to-do woman would be laced by her maid, and a gentleman by his valet. However, many corsets also had a buttoned or hooked front opening called a busk. Once the lacing was adjusted comfortably, it was possible to leave the lacing as adjusted and take the corset on and off using the front opening (this method can potentially damage the busk if the lacing is not significantly loosened beforehand). Self-lacing is also almost impossible with tightlacing, which strives for the utmost possible reduction of the waist. Modern tightlacers, lacking servants, are usually laced by spouses and partners.
By wearing a tightly-laced corset for extended periods, known as tightlacing, men and women can learn to tolerate extreme waist constriction and eventually reduce their natural waist size. Tightlacers dream of 40 to 43 centimeters (16 to 17 inches) waists, but most are satisfied with anything under 50 centimeters (20 inches). Until 1998, the Guinness Book of World Records listed Ethel Granger as having the smallest waist on record at 32.5 centimeters (13 inches). After 1998, the category changed to "smallest waist on a living person" and Cathie Jung took the title with a 37.5 centimeters (15 inches) waist. Other women, such as Polaire, also have achieved such reductions (14 inches in her case).
However, these are extreme cases. Corsets were and are still usually designed for support, with freedom of body movement an important consideration in their design. Present day corset-wearers usually tighten the corset just enough to reduce their waists by 5 to 10 centimeters (2 to 4 inches); it is very difficult for a slender woman to achieve as much as 15 centimeters (6 inches), although larger women can do so more easily.
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, an undershirt or corset liner may be worn.
Moderate lacing is not incompatible with vigorous activity. Indeed, during the second half of the nineteenth century, when corset wearing was common, there were sport corsets specifically designed to wear while bicycling, playing tennis, or horseback riding, as well as for maternity wear.
The corset is a garment that has undergone many changes over the years. Originally, the garment we now know as the corset was known as stays in the early 16th century. It was a simple bodice, with tabs at the waist, stiffened by horn, buckram, and whalebone (Steele, 6).
The center front was further reinforced by a busk made of ivory, wood, or metal. It was most often laced from the back, and was, at first, a garment reserved for the aristocracy.
Stays took a different form in the 18th century, whale bone began to be used more, and there was more boning used in the garment. The shape of the stays changed as well. The stays were low and wide in the front, while in the back they reached up to the neck. The straps of the stays were attached in the back and tied at the front sides.
The purpose of 18th century stays was to emphasise the bust, while drawing the shoulders back. At this time, the eyelets were reinforced with stitches, and were not placed across from one another, but staggered. This allowed the stays to be spiral laced. One end of the stay lace is inserted and knotted in the bottom eyelet, the other end is wound through the stays' eyelets and tightened on the top. To tighten the laces the wearer had to hold onto something, as this method of lacing pulled the wearer from side to side as it was tightened.(Steele, 22)
At this time, there were two other variants of stays, jumps, which were looser stays with attached sleeves, like a jacket, and corsets.(Steele, 27)
Corsets were originally quilted waistcoats, worn by French women as an alternative to stiff corsets.(Steele,29) They were only quilted linen, laced in the front, and un-boned. This garment was meant to be worn on informal occasions, while stays were worn for court dress. In the 1790s, stays fell out of fashion. This development coincided with the French Revolution, and the adoption of neoclassical styles of dress. Interestingly, it was the men, Dandies, who began to wear corsets.(Steele, 36) The fashion persisted thorough the 1840s, though after 1850 men who wore corsets claimed they needed them for "back pain" (Steele 39).
Stays went away in the late 18th century, but the corset remained. Corsets in the early 19th century lengthened to the hip, the lower tabs replaced by gussets at the hip. Room was made for the bust in front with more gussets, and the back lowered. The shoulder straps disappeared in the 1840s for normal wear.(Waugh, 77)
In the 1820s, fashion changed again, with the waistline lowered back to almost the natural position. Corsets began to be made with some padding and boning. Corsets began to be worn by all classes of society. Some women made their own, while others bought their corsets. Corsets were one of the first mass produced garments for women. Corsets began to be more heavily boned in the 1840s. By 1850, steel boning became popular.
With the advent of metal eyelets, tight lacing became possible. The position of the eyelets changed, they were now situated across from one another at the back. The front was now fastened with a metal busk in front. Corsets were mostly white. The corsets of the 1850s-1860s were shorter than the corsets of the 1800s through 1840s. This was because of a change in the silhouette of women's fashion. The 1850s and 60s emphasized the hoopskirt. After the 1860s, when the hoop fell out of style, the corset became longer to mold the abdomen, exposed by the new lines of the princess or cuirass style.
During the Edwardian period, the straight front corset was introduced. This corset was straight in front, with a pronounced curve at the back that forced the upper body forward, and the derrière out. This style was worn from 1900-1908 (Steele 144).
The corset reached its longest length in the early 20th century. The longline corset at first 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 brasserie. This style was meant to complement the new sillhouette. 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 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. In this case, the corset may still be underwear rather than outerwear.
There was a brief revival of the corset in the late 1940s and early 1950s, in the form of the waist cincher sometimes called a "waspie". This was used to give the hourglass figure 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. This revival was brief, as the New Look gave way to a less dramatically-shaped silhouette.
Since the late 1980s, the corset has experienced periodic revivals, which have usually originated in haute couture and which have occasionally trickled through to mainstream fashion. These revivals focus on the corset as an item of outerwear rather than underwear. The strongest of these revivals was seen in the Autumn 2001 fashion collections and coincided with the release of the film Moulin Rouge!, the costumes for which featured many corsets as characteristic of the era.
There are some special types of corsets and corset-like devices which incorporate boning.
A corset dress (also known as hobble corset because it produces similar restrictive effects to a hobble skirt) is a long corset (examples gallery). It is like an ordinary corset, but it is long enough to cover the legs, partially or totally. It thus looks like a dress, hence the name. A person wearing a corset dress can have great difficulty in walking up and down the stairs (especially if wearing high-heeled footwear) and may be unable to sit down if the boning is too stiff.
A neck corset is a type of posture collar incorporating stays and it is generally not considered to be a corset.
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| Translations: Corset |
Dansk (Danish)
n. - korset, sygekorset
v. tr. - kontrollere nøje, begrænse kraftigt, korsettere
Français (French)
n. - (Méd) corset orthopédique
v. tr. - maintenir par un corset
Deutsch (German)
n. - Korsett
v. - in ein Korsett schnüren, einengen
Ελληνική (Greek)
n. - (ενδυμ.) κορσές
v. - φορώ κορσέ, (μτφ.) ελέγχω ασφυκτικά
Italiano (Italian)
corsetto, busto
Português (Portuguese)
n. - espartilho (m)
v. - espartilhar
Русский (Russian)
корсет, латы
Español (Spanish)
n. - corsé
v. tr. - encorsetar
Svenska (Swedish)
n. - korsett, snörliv, tvångströja (bildl.)
v. - korsettera, strängt kontrollera (bildl.), sätta tvångströja på
中文（简体）(Chinese (Simplified))
束腹, 妇女的胸衣, 给...穿上束腹, 严格控制
中文（繁體）(Chinese (Traditional))
n. - 束腹, 婦女的胸衣
v. tr. - 給...穿上束腹, 嚴格控制
한국어 (Korean)
n. - 코르셋
v. tr. - 코르셋을 착용하다, 죄다
العربيه (Arabic)
(الاسم) مشد للخصر (فعل) شد خصر
עברית (Hebrew)
n. - מחוך
v. tr. - סיפק מחוך, הגביל
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 | Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved. Read more |
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| How Products are Made. How Products are Made. Copyright © 2002 by The Gale Group, Inc. All rights reserved. Read more |
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| World of the Body. The Oxford Companion to the Body. Copyright © 2001, 2003 by Oxford University Press. All rights reserved. Read more |
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| Britannica Concise Encyclopedia. Britannica Concise Encyclopedia. © 2006 Encyclopædia Britannica, Inc. All rights reserved. Read more |
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| Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/ Read more |
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| Wikipedia. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Corset". Read more |
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| Translations. Copyright © 2007, WizCom Technologies Ltd. All rights reserved. Read more |
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