Woman flaunts TINY 16-inch waist after wearing corsets for six years

THIS CORSET obsessed woman who only started wearing the controversial garment in a bid to improve her posture has now completed her six-year odyssey to shave eight inches off her waistline to compress her frame into a tiny SIXTEEN-INCH corset.

Social media marketing manager Sarah Vaeth (42) from Oregon, USA, who currently wears a corset for 20-hours each day, first tried on her first corset in 2012 in the hopes of correcting her very poor posture, but she had no idea that this would start her fascination with corsets, as she now proudly wears an 18-inch corset every day.

Sarah was developing a hunched neck and shoulders due to having bad posture, so trying on a corset was a way for Sarah to learn to hold herself up better, preventing a permanent hunch at such a young age.

compressed waist

The instant hourglass figure that a corset gave Sarah made her fall in love with the look immediately. Sarah’s first corset was a 24-inch waist one, with Sarah’s actual waist measuring 26-inches.

The slight difference that Sarah’s first corset created encouraged her to delve deeper with the hobby and want to see how much further difference she could make with even smaller corsets.

Sarah now wears a corset for 20 hours every day, and she only waited days after giving birth to her daughter before getting back into her favourite hobby.

“I felt instantly sexy because that little bit of difference, just a couple of inches off the waist at first, looking astounding to me,” said Sarah.

“After a few minutes I just felt awkward and uncomfortable because it takes a long time to break in a new corset. At first, I could only wear it for an hour at a time.

“A new waist training corset starts out absolutely rigid and then gradually the steel boning starts to curve and conform to the body, and the body also begins to conform to the corset.

“As an adult, I’ve always liked my body because it was strong, but I didn’t feel that my body was very feminine.


“I’m quite interested in tightlacing as a body art, with my own tightlacing becoming a kind of ongoing art project.

“I currently spend most of my time in a corset style skirts with an 18-inch waist, but I’ve recently started wearing a 16-inch corset style skirts for short periods of time.

“I own 14 corsets in total, some are just off the rack standardised corsets, but others are bespoke or semi-custom ones.

“I have a few interesting vintage corsets which I bought as curiosities, although they are wearable.

“The bespoke corsets I’ve bought are between £200-£300, and that’s really at the low end for bespoke corsets. My off the rack corsets are all around £60-£80.

“I tend to wear corsets for anywhere between 16 to 20 hours a day, and I almost always sleep in it. The longest I have gone with wearing a corset skirts sets constantly is 24 hours though.

“During my ordinary daily routine, I wear a short style corset skirts sets which allows me greater mobility. I can garden in it, clean the house and hike in it. The only thing I can’t do is run, so I take it off for that.”

Sarah has a four-year-old daughter, Kestrel, and it was only a matter of days following Kestrel’s birth before Sarah braved a corset style skirtsstyle skirts again.

Given how much her body had changed, and she didn’t wear a corset skirts sets for her entire pregnancy, Sarah started off with a 24-inch corset just days after bringing her new baby home.

“I bounced back pretty fast, I remember feeling relieved that it wouldn’t be a lot of work to get back into the corset skirts sets,” said Sarah.

“I ended up only wearing it intermittently during the first year with my baby, sometimes sleeping in it. It was too inconvenient during the day.

“I was spending a lot of time sitting in a rocking chair with my baby, but the corset skirts sets  just got in the way. Once Kestrel was weaned and crawling, it made sense to pick the corset style skirts back up again properly.

“I’m really in love with corsets so I don’t anticipate ever given them up for good.”

Sarah loves the way corseting has changed the shape of her body and even how wearing a corset skirts sets  style skirts has alleviated the anxiety that she battled for so long.

“I believe that it works very similarly to the kind of compression tools that are used therapeutically for a range of disorders,” added Sarah.

“I think there’s something about the way the corset skirts sets  forced the body into an upright, more proud posture. I think it tricks me into feeling more confident about myself.

“At the level of reduction I’m at, my ribs are compressed. This isn’t something that I even notice very often, but I know that my lung capacity is less than it was in a natural state.

“The body is resilient, if I was to stop wearing a corset skirts sets  , it wouldn’t take long for my body to return to its genetically predetermined state.”

These Goth Pinup Girls Channel the Dark Beauty of a Disney Villainess

Caesy Oney Wants Portland to Dress More Like Portland

Caesy Oney is trying to change the conversation around Portland’s fashion industry.

As the home of athleisure titans like Nike, Adidas and Under Armor, Portland is often thought of in the apparel world as the Silicon Valley of tactical fleece and astronaut jogging pant innovation.

But with Last Heavy, the new line he created with Los Angeles designer Thed Jewel and creative agency Kamp Grizzly, the 33-year-old designer rejects the sparkling Space Age textiles of the big athletic brands, aiming for an aesthetic more closely related to the city’s long-standing vintage scene.

“Ours is one of the few companies of its kind based here that doesn’t have anything to do with athletics,” he says. “We made this line considering the Portland palette and style.”

Last Heavy is currently sending its inaugural Autumn-Winter 2018 line to the market. The lookbook resembles a disposable camera roll of skate rats from some small rural Oregon town: tropical “sexy shirts,” trucker jackets, heavy wool long-sleeves, roomy hoodies, art-kid graphic tees. While the clothes are likely to be snatched up by Parliament-smoking punk kids, it’s not hard to imagine many of the pieces being worn by the more fashion-conservative—”like my Montana family,” says Oney, a native of Whitefish.

In his Industrial Southeast studio, a VHS of The Fifth Element plays on an enormous new flat-screen TV. On the stereo, Chance the Rapper bumps loud enough to make conversation difficult, while Oney chain smokes cigarettes into a glass of white wine.

A primarily self-taught maker who used to sew prototype sneakers for Converse, Oney describes the Last Heavy as a “unisex uniform,” like something you’d find on a factory floor. His first official voyage into apparel came with Draught Dry Goods, a collection he launched after graduating from the Pacific Northwest College of Art in 2008. Once his full-time gig, the work of designing, marketing and sewing almost every piece himself eventually caught up with him, and the project is now more of a side hustle.

Draught Dry Goods is more obviously high fashion than Last Heavy, and it quickly garnered a cult following. The most recent Draught Dry Goods line pays respect to sex workers—it was inspired by Oney’s two years working at Fantasy Adult Video. The line includes a backpack that looks vaguely like a sex dungeon mask and a clear, plasticine wallet that could hold a healthy stack of a dancer’s end-of-night singles. A recent lookbook he published celebrated legendary Portland stripper Viva Las Vegas, who was celebrating her 20th anniversary dancing at Mary’s Club.

“It just aligns with my politics,” he says. “You need to support sex workers. It’s a pretty shit-on group of people.”

Last Heavy tones down the overt sexuality, but like Draught Dry Goods, it fits into an increasingly non-gendered apparel landscape. In Portland, especially, the kids aren’t clamoring to announce their gender through their business suits or pencil skirts.

“I think these wide-legged chinos are going to be styled very femininely,” Oney says. “This one feels like a Western shirt, but works in New York. We sold the shit out of that in New York.”

Last Heavy will be available nationally at Barney’s New York and Ron Herman Los Angeles, and internationally in Japan and Paris. But Oney hopes the line will still feel rooted in Portland. Part of that is making clothes that can last long enough to earn their timeless appeal, the way Pacific Northwest companies like Filson, Pendleton and Settlemier’s have. Like the majority of those brands, Last Heavy is made entirely in the United States, where Oney and Jewel can achieve a higher level of quality by monitoring the manufacturing processes themselves.

“No one wants to spend $400 on a jacket and have it fall apart and go out of style,” he says. “I expect everything in this collection to be worn for years and years.”

The 5 Trends Scandi Fashion Girls Love

The one problem with living in the Southern Hemisphere (proximity to Europe aside)? The agonising wait we always endure before we can dabble in the new season fashion trends everyone else on Instagram has been wearing for months. But spring is finally here – and with it, the chance to try our hand at the envy-inducing outfits the street style set at Copenhagen Fashion Week have been pulling off with such aplomb.

In case you missed the memo: Paris has officially been dethroned as the world’s cool-girl capital, and instead of coveting French fashion, we’re craving the effortless style seen on the Danish It-girls that are blowing up our Instagram feeds. Taking our sartorial cues from the likes of Pernille Teisbaek and Amanda Norgaard, we’ve rounded up the top trends to emerge from the Nordic summer – just in time for the Australian spring.

1/ Wrap dresses and tops

Every season brings us a fresh dress trend: last year, it was all about the off-the-shoulder silhouette: this spring/summer, it’s the reign of the wrap dress. Floaty printed dresses and tops, cinched at the waist with wrap ties for a universally flattering fit, were everywhere at Copenhagen Fashion Week: buy yours from under-the-radar Danish fashion label VERO MODA.

2/ Breezy separates

One of the defining trends of the new season? Loose tailoring, given a decidedly un-business-like twist by way of look-at-me brights and pastel hues. From breezy silk two-pieces in all the colours of the rainbow (think everything from vivid green to peach to purple), to block-colour dresses and billowing balloon sleeves, coordinating separates were just as popular as dresses at Europe’s most recent fashion weeks.

3/ Check mate

Looking for something that’s a little more office apropos? Checked suiting is everywhere right now, from chic check blazers (we love this check blazer with a slight ‘80s edge by VERO MODA) pared back with boyfriend jeans for weekends and tailored black pants (or even matching check trousers) for work. You can take embrace the check trend beyond the blazer and incorporate it into summery outfits too – try Danish brand Cecilie Copenhagen for sweet embroidered check dresses and separates, or Swedish label Anine Bing.

4/ Whimsical florals

Florals, for spring? The phrase has become almost as over-used as the trend itself, but trust us: neither are going anywhere. Delicate florals, printed onto bold colour, are being seen predominantly on statement dresses and skirts to take you from early spring.

5/ Denim done differently

From the ubiquitous cropped boyfriend jean to denim culottes and high-waisted shorts, denim is essential to anchor the season’s floaty florals and silk separates. But it can also be worn all on its own: take the VERO MODA denim dress (available November), a versatile piece vital to any woman’s spring/summer wardrobe, or the MSGM denim trench.

Telluride: Emma Stone Reveals Her Acting Breaking Points

Five years ago, Emma Stone was asked if she’d use a two-week break in the middle of shooting The Amazing Spider-Man 2 to play a role in Birdman. She accepted, but with misgivings.

“I wanted to [do it] very badly but was nervous about what that would be [like],” she told an audience at the Telluride Film Festival on Saturday, shortly before a screening of her new movie, Yorgos Lanthimos’ The Favourite. “My nerves were confirmed because it was so hard and so technical and challenging and I felt like I was going crazy.”

One night, she said, “My character doesn’t smoke, but they gave me these herbal cigarettes, and I had reached a breaking point and I went to the dressing room for my lunch break at midnight and chain-smoked these fake herbal cigarettes that give you nothing except for a sore throat. Then we went out to do the scene and I was spitting angry with myself — and Alejandro [Inarritu] just looked at me like, ‘There it is!’ I was like, ‘OK!’ ”

The revelation that she could use her own anger, she said, “changed something for me, not to be afraid to let parts of myself break open, in a way that I was afraid [before]. I was 24. I’m 29 and still learning. Since that [movie] I have found joy and challenge in such a new way. All I ever want to do now is reach that breaking-point, because the other side of it is so incredible.”

Stone, who was presented with one of the festival’s Silver Medallion Awards, said her role in The Favourite had its own challenges — perhaps not with any such breaking points, but being the only American actor among a British cast, and coping with being strapped into a corset.

“It’s 1705, which was about 300 years before any period I had ever done. It was pretty daunting on a few levels — having to be British and not stick out like a sore thumb; and [b] to breathe!” she said to laughter. “After about a month, my organs shifted and I realized my whole body-shape had changed — and not for the better. But it all goes back. And that’s the great thing about human bodies!”

The movie tells the fictionalized story of England’s Queen Anne (Olivia Colman) and her favorite courtier, Sarah Churchill (Rachel Weisz), whose relationship is interrupted by the arrival of an ambitious newcomer in court, Abigail Masham, a servant played by Stone, who becomes the queen’s new favorite. Much of the film, said Stone, was lit with natural light, including night scenes illuminated by “trays of candles.”

During the shoot, Stone kept a low profile, as is her wont. She added that she avoids social media at all costs. Even after an Oscar win, she said: “I’m essentially a bundle of nerves that are outside my body a lot of the time. Doing interviews [is] insane to me because any opinion you have can be reverberated back – that scares the shit out of me. Two a.m. tweeting, that’s not for me. But I respect anyone who doesn’t [have] this level of self-doubt.”

‘Favourite,’ ‘Roma’ hit Venice fest

The Venice Film Festival took flight yesterday with two high-profile pictures destined for year-end awards competition.

“The Favourite” is a glam, sexually outrageous English period piece about warring women (Emma Stone, Rachel Weisz) seeking power and position from an often infantile and seriously ill Queen Anne (Olivia Colman).

“Roma” jumps back to 1970 as Mexico’s Oscar-winning Alfonso Cuaron (“Gravity”) replays his childhood with a new understanding of the maid who was like a foster mother.

HIGH HOPES: Emma Stone star of ‘The Favourite,’ attends the Venice Film Festival yesterday.

“Favourite,” said director Yorgis Lanthimos (“The Lobster”), “is an interesting story in its own right and was the opportunity to create three very complex, complicated female characters. It’s something you rarely see on film and it was what immediately drew me to explore this story.”

Asked about her scheming character, a woman of lost privilege climbing up from the dung heap, a buoyant Stone, 29, said, “I loved every element of getting to play her. The challenges included being the only American in the (British) cast. That was a little bit daunting in terms of making sure the accent made sense. And the corsets were a challenge just because you can’t breathe all day.”

Colman (“The Night Manager”) will now play two queens consecutively — she’s Queen Elizabeth in seasons three and four of Netflix’s “The Crown.”

“They’re not very similar — that’s good. I can’t compare the two queens. I don’t think,” she added slyly, “Queen Elizabeth learned anything from Queen Anne.”

How was Alfonso Cuaron able to make “Roma” in black and white, big screen 65 millimeter, with 110 shooting days, casting two indigenous Mexican women who had never acted as his stars, and film with a semi-spontaneous approach that meant few ever saw a complete script? And with a Spanish-language picture?


“We know full well a Spanish film in black and white that’s a drama will have difficulty to find space and room to be shown. That’s why it’s important to have Netflix because they allowed me to make this film this way, the filmmaker explained, adding that “Roma” will be in theaters as well as available for streaming.

“When,” he concluded with a question, “was the last time you saw a (Ingmar) Bergman or (Michelangelo) Antoniono film in a theater? Or at home?

“There’s not a clash between formats but finding something that works.”

A Russian Ballet Dreams of Isadora Duncan

Los Angeles is famous for its movie premieres. In recent years, the vitality of the Los Angeles Philharmonic Orchestra and the Los Angeles Opera Company have also attracted their share of premieres. Still, I was excited to attend the world premiere of a ballet, Isadora, inspired by the life of Isadora Duncan, choreographed by Vladmir Varnava with Royal Ballet Principal dancer Natalia Osipova in the lead role, as performed a few weekends ago at the Segerstrom Center for the Arts in Costa Mesa.

Sergei Danilian, the Sol-Hurok-like impresario who brought Russian dance and Russian dancers to the Segerstrom in past seasons, was instrumental in developing this ballet for its premiere at the Segerstrom. Danilian had worked with Varnava and the Mikhailovsky Theater in the past, and Varnava had appeared at Segerstrom as a dancer in one of Danilian’s productions. Danilian encouraged Varnava to develop as a choreographer and create an original full ballet with supported from Segerstrom donors and other like-minded balletomanes.

Natalia Osipova, formerly of the Bolshoi, and known for her emotive performances as Giselle, had wanted Varnava to create a work for her. When Osipova and Varnava discussed creating a new ballet, Osipova spoke of her love for Profikiev’s Cinderalla score. Varnava was interested in the story of American modern dance icon Isadora Duncan, particularly her connection to Russia. So Varnava decided to choreograph what he calls, his dream of Isadora, to Cinderella.
Osipova has said that Cinderella, the theme of transformation is “not unlike that of Duncan and magic she performed on the world of dance” and that they are both stories about “a young woman who searches for beauty and sense of individuality amid tremendous tragedy.”

Osipova is right to recognize in Duncan’s life a maverick independence as well as great tragedy. Isadora Duncan (1877-1927) was born in California. Her father lost all the family’s wealth and then left the family itself. Isadora, already rebelling against the strictures of classical ballet supported the family by offering dance classes. Duncan found expression in classical Greek poses, adopting the flowing robes of the ancients instead of the corsets and tutus of ballet. Personal expression and personal freedom was central to Duncan. She danced barefoot and searched in her movement to create a modern dance idiom from more natural movement. Duncan was unconventional in dance and in her personal life. By the time she was 20 she had traveled to Europe been acclaimed and inspired followers and admirers. Among the admirers was the sewing machine heir Paul Singer, with whom she had two children out of wedlock. Tragically, the children were in a car with their nanny when the driver lost control and plunged the car into the Seine drowning them.

Structure your wardrobe: how to dress like an architect​

This autumn, looking as if you have a deep understanding of Bauhaus and brutalism is only a pair of heels away

here is a phrase popping up as frequently as oligarchs’ penthouses on the London skyline. The expression “dressing like an architect” has become the ultimate fashion compliment. People who wear Prada, or Marni, or Issey Miyake are often said to dress like architects. So, too, are those who wear structural shift dresses from Cos.

Mules (top to bottom): £69.99, Zara; £69, Topshop; £65, M&S. Cos clothes: culottes, £59; top with rib sleeves, £55; poplin shirt, £59.

There are Mumsnet threads devoted to the art of architect dressing: “You need to decide on a ‘look’ and then rigidly stick to it, no matter what life throws at you. Lots of black, structure and red lipstick. Hair is either bobbed or short with a quiff,” advises one post. New York magazine suggests that the look is merely a Maison Margiela draped blouse away. For inspiration, visit the How to Dress Like an Architect board on Pinterest, which has almost 186,000 followers, and is a sea of black, white, camel and grey.

This autumn, the high street is embracing a trend for architect-appropriate shoes with structural heels. Zara has sleek, black mules with heels the shape of a protractor, while M&S will, from the end of September, have slingbacks with bulbous heels reminiscent of wooden pillars. Topshop has a range of shoes and boots with heels that look a bit like the Berlin television tower, while Asos has shoes and boots that balance on futurist silver spheres.

If these do not satisfy your urge to look as though you have a deep understanding of 3D modelling software, going full architect is easier than ever. According to the Guardian’s architecture and design critic, Oliver Wainwright, you don’t even have to wear neutral colours. “With the resurgence of postmodernism, there has also been a rise of very brightly coloured clothes among architects,” he says. “One young partnership, Space Popular, dress in amazing rainbow shades; their appearance has become a big part of their reputation.”

Although many brands favoured by architects are expensive (Wainwright mentions Margaret Howell and Studio Nicholson), no shop is more relevant than Cos, he says. While popular culture might suggest that all architects are super-rich, in reality, most are not very well paid. “Instead, there is a lot of ingenuity in the way they buy clothes,” says Wainwright. “These are often cleverly layered garments that you might not look at twice from a distance, then you realise have interesting textures. Materials are something architects obsess over in their jobs, and they dress the way they design.”

Dressing like an architect means dressing mindfully. The influential Dutch architect Rem Koolhaas keeps his phone in his sock, says Wainwright. He reaches down to his ankle every time he gets a call, such is his dedication to maintaining the line of his trousers.

Coco Chanel said: “Fashion is architecture – it is a matter of proportions.” Dressing like an architect, on the other hand, seems to be a matter of mastering all the small details at once.

How Becky Sharp’s wardrobe in Vanity Fair reflects her social rise and fall

Vanity Fair episode 42 still

There’s no one quite like Becky Sharp. Coming of age in the heyday of the Austen heroine (typically good, kind, humble and determined to do the right thing), William Makepeace Thackeray’s arch, cynical and self-serving Becky provides quite the contrast.

Her wardrobe gives her away: the colours are a little too bold, the jewels too many. Becky isn’t the girl next door or an ingénue but a femme fatale. She’s smart, determined, driven. In this Regency setting – and with the prettily, softly dressed Amelia Sedley for contrast – Becky stands out. She demands too much; she is too much.

For many contemporary readers, she was an anti-heroine, but two centuries after her creation – and with a new ITV adaptation bringing her story vibrantly to life – it’s to Becky that we relate. And as we follow her rags-to-riches-and-back-again story, her clothing communicates every social rise and fall along the way.

The only way is up
From the first glimpse we get of Becky, leaving behind her position as a teaching assistant at Miss Pinkerton’s Academy for Young Ladies, she is firmly in control. Yet it’s a scene that also wordlessly communicates her place on the social scale. As an ‘articled pupil’ who has to work for her education, she sits far lower than the wealthy girls whom she teaches French.

Dressed in cold shades of grey – a colour of work, not play – her wardrobe tells of humble origins and works to keep her firmly in her place. Meanwhile her pupils, the daughters of the gentry, parade down the stairs two by two in saccharine pinks, yellows and blues – the colours of childhood and innocence – trimmed in feathers, ribbons, silk flowers and frills.

Suranne Jones as Miss Pinkerton in Vanity Fair

“In the early 19th century, there was a huge amount of etiquette around what you were allowed to wear,” says Lucinda Wright, the costume designer for the series. “It would tell people what class you were, what your personality was like; it really spoke volumes. You would be shunned in society if you tried to overstep the mark.”

Regency revolution
The brightly hued fripperies of Becky’s pupils form a symbolic barrier into another world, reserved not just for those who could afford them, but for whom they were a birthright. Yet for bright, determined and utterly anachronistic Becky – ever challenging the norms and pushing boundaries – they are a red flag to a bull. “I think she was just hell-bent on getting up that social scale,” says Wright. “By hook or by crook she would have got there.”

In contrast to the lace and powder that had come before, fashions in the Regency era were decidedly relaxed, especially for young women. The empire silhouette dominated. Named after Napoleon’s First French Empire, and his wife Joséphine de Beauharnais who helped popularise the style, it featured a higher waistline, set just below the bust, often with shorter, puffed sleeves.

Becky Sharp and Amelia Sedley in Vanity Fair

This offered women a sartorial reprieve of sorts, and though the style still called for short-stay corsets that lifted the bosom, these didn’t extend to the waist, offering women a new level of physical freedom. Some women ditched corsets altogether, opting instead for a boned or ribbon-tied chemise.

Gone, too, were heavy brocade fabrics and the complicated infrastructure of hoops and panniers. Gowns fashioned in lighter cloths would hang completely free or with a single petticoat. There were other changes too. Mornings were spent in ‘undress’ (from the French déshabillé): loose comfortable gowns worn until noon. The vogue for young society women to go out for walks together in parks, seaside resorts or country retreats – essentially to be seen in the fashions of the day – led to the creation of ‘promenade’ or ‘walking’ dresses, which were trainless and had shorter hemlines. The low necklines and nearly sheer fabrics worn in the evening seem almost risqué, even by modern standards.

The fabric of society
Yet while the styles of the time may have seemed comparatively liberating, perhaps even hinting at a French egalité, there was little real emancipation for women in the Regency era. While Mary Wollstonecraft had started to fan the flames of feminism, Fanny Burney had achieved overnight fame as a novelist (of all things) and trailblazers such as Madame Barbe-Nicole Clicquot (who gave us champagne) were proving themselves in the world of business, the position of women in English society remained perilous.

The law precluded them from any kind of inheritance, so the pressure was on to marry well. Becky doesn’t just recognise this, she embraces it with ruthless practicality, pragmatism and honesty. And by faking it till she makes it, she can ensure the best match possible.

Becky Sharp

As she steps over the threshold of the Sedley household, Becky embarks on her ascent in society and, with each rung she climbs, adds some little piece of finery to her outfit. On that first day, Amelia wraps a cashmere scarf around her arms, a gift that’s quickly followed by a dress in pastel pink.

Becky’s status can be tracked by her wardrobe – a reflection of society at the time, when women truly wore their pasts on their sleeves. Or, in Becky’s case, her past as she would like to paint it.

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