…the pair of bodys was reinforced further by adding whalebones (baleen, or cartilege from a whale’s mouth) to the front and the back.  The side lacing of the earlier period was changed to the more convenient center back or front opening. When it became fashionable to open the gown in …

…to keep the front part very rigid, a “busc” was added.  This was a piece of wood, horn, whalebone, metal, or ivory that was thicker on top and tapered down.  This was often beautifully decorated and inserted between the layers of linen and tied in by a lace. (Left:  Modern …

…was probably quite simple in shape and made from only two pieces of linen sometimes stiffened by paste.  They were stitched together and shaped to the waist at the sides. (Portrait: the layered and stiffened bodice of about 1550)

…separate bodice and skirt, both structured and stiffened, was called a “pair of bodys” or sometimes just a “body”, although that term usually meant just the upper part of a robe.  The French used the same word for body, “corps” for both upper and under bodices. (Portrait: Catherine of Aragon …

…It was the fashion to wear the outer robe open, so the front part of the waistcoat began to be elaborately embroidered and embellished.  It was used to cover and hide the fastenings, and became the “stomacher” or “placard”. (Portrait: Woman in early 16th century Italian ornate “placard” under open …

…was a man’s garment, although they looked much the same, the difference was the skirt versus the men’s lower garments. (Portrait: 1548 man)  

… ornamented garment began to be called a “waistcoat” which was made of two or more layers of heavy linen padded together and quilted.   It was worn with a short basque that had eyelet holes into which hose were laced. (Portrait: Early in the 16th century, women dressed as men …

…in the volume and body of the garment, it could now also be done with glamorous decoration.  Women were imitating men, who had been wearing since Medieval times structured garments called “cotte, gambeson, doublet, pourpoint” and other terms. (Extant garment photo: 1490’s Gambeson)    

…stiffened to support the weight of the skirt.  The skirt could therefore be made much larger and heavier.  This larger overall silhouette made the individual look bigger and more important. (Painting: 1490’s stiffened bodices)    

… the innovation of separation of the bodice and skirt, rather than one whole draped garment laced on to the body.  With this, tailors were able to focus separately on top or bottom. (Painting: 1490’s overdress allowed separation of bodice and skirt)