FAQ You – A Guide for Modern Burlesquers

April 10th, 2009
Murgatroid Mittens
All News Items, Burlesque Resources
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Based on the years of answering popular questions as the Ministry of Burlesque matriarch, Kittie has compiled carefully considered retorts to those tricky and frequently asked questions of modern burlesque, new performers and the ever curious press.

FAQ such as:

What is Burlesque? Really?
Where can I find out about the history of Burlesque?
Where can I find out more about Burlesque today?
How risqué is Burlesque? Is it the same as Stripping?
Where can I find reputable teachers?
Where can I hire professional performers or production people?
How do I get involved in performing?
How do I choose a ‘burlesque name’ to perform under?
Someone else is using my stage-name! What should I do?
I have a routine, how can I get ahead?
How do I make a good showreel?
Is it acceptable to imitate well known acts? Old or new?
When does a performer become a ‘Professional’?
I need experience/exposure on stage – where can I get this?
I need to build my online presence. How can I do this?
I don’t perform so how else can I get involved in the Burlesque world?
How do I choose the correct corset for me?

What is Burlesque?

Burlesque has come to mean a number of things but overall, it is used to apply to something which is performed ‘in an exaggerated or topsy-turvy’ style – for the sake of entertainment.

Traditionally, it is a theatrical genre of musical comedy but it is often misunderstood today. To burlesque something, is to make fun of it – to tease and lampoon it with theatrical flair. The literal definition is ‘to satirise’, ‘make mockery of’ or ‘to send up’. So, in it’s classical theatrical genre, it is similar to the Travesty and is based on elaborate caricature. It’s theatrical values include punning, suggestive costuming, lyrical mastery, overtones of historical, political or social satire.

But this ‘classical’ form is perhaps a little antiquated in comparison to what most young people think of as ‘burlesque’ today. Aptly, the aforementioned form is now called ‘classical burlesque’ and is indeed still alive (just) in British entertainment. Burlesque was all about (and still is) reinvention – and turning the notions and protocols of theatre upside down. The form has, since it’s classical hey-day, undergone various re-interpretations…

So, what we mean in the modern sense of the word, is a wider genre of ‘burlesque’ which is overall, best described as ‘suggestive performance art’.

This wider genre encompasses many contrasting styles stemming from its classical satirical roots but also takes influence from 19th century showgirls such as those exiguous ladies of the Moulin Rouge et al. The more popular, modern styles today actually come from 20th century America and often involve striptease. This new form of burlesque is performed with varying degrees of glamour, satire or ‘shock’ value according to performer speciality.

The form has a rich history spanning the age of known history and culture. The classical genre has been popular in Britain for centuries and was popularised in the Late Regency and Victorian eras; it spread to the USA nearly a hundred and fifty years ago in the 1860s but was entirely adapted in to a new form altogether.

This modern burlesque genre comprises of two main forms: the Traditional British Burlesque (known by academics as ‘classical burlesque’) and the relatively modern American Burlesque Striptease. British Burlesque and American Burlesque are therfore two distinctly different forms of entertainment, with very different histories. British Burlesque is not American Burlesque or Striptease ‘as performed by Brits’. It should also be noted that the terms ‘burlesque’ and ‘striptease’ are not at all synonymous or interchangeable and yet are often confused. Striptease is an art-form in its own right although it is often used by modern burlesque performers who combine the two genres.

In the American form, the term ‘burlesque’ was used by proprietors to describe the comic variety shows in which a striptease act would also perform. Eventually the term ‘Burlesque Striptease’ became a form in itself and usually describes an act where humour or pastiche is combined with the classic (non-nude) striptease. Burlesque-Striptease (or American Burlesque) is a hybrid form of two different styles – burlesque and striptease. Borrowing from the style of 19th century burlesquers (of the classical and British tradition), the strippers adopted the gimmicks and comical parodying that characterize this sort of performance.

From performer to performer, you can expect to find a mix of satirical, bawdy, sensual, circus, political, risqué, classical, avant-garde and curiosity style acts. Each performer will employ a personalised interpretation of the term ‘burlesque’ which leads to the great variety of styles within the wider, modern genre. As the art form has undergone various reinterpretations it continues to employ many contrasting skills and is performed by both men and women drawing on different cultural and historical influences.

Where can I find out about the history of Burlesque?

Kittie has had various articles on the subject published. See the Burlesque Resources section of the Library on the right for her guide to classical burlesque, biographies of burlesque stars and more.

You can also find out all about the history of the burlesque genre (i.e. it’s stars, how it has changed through time and it’s cultural effects) from writers who post on the MoB Forums. Simply use the search function to find articles, essays and public discussions about the wonderful, colourful history of burlesquing.

Where can I find out more about Burlesque today?

As well as on the MoB website, which is an online resource with lots of articles by the industry’s experts, why not ask on the Mob Forums and discuss your queries with others? www.ministryofburlesque.com

For American burlesque & striptease see the USA’s prima protagonist Jo ‘Boobs’ Weldon’s blog.

How risqué is Burlesque? Is it the same as Stripping?

In a nutshell, no. But in saying this, we need to be clear in our semantics. Although a particular burlesque routine may contain or even be based on striptease, it is generally not regarded as synonymous with stripping itself. It is not an issue of ‘sanitising’ strip acts, it’s simply that they are performed for different reasons and effects. (Besides, many burlesque acts are deliberately shocking or challenging in nature – nude or fully clothed). Striptease is also a form in it’s own right and it is unfair to rob it of it’s identity by forcing a clown in to the scenario.

To explain why there is often confusion we need to look at the history.

The term ‘burlesque’ means ‘to satirise’ and actually refers to an ancient theatrical tradition common to many cultures. In the West, this theatrical tradition arguably reached its apogee during the Victorian and Edwardian era and was largely, begun as a middle class entertainment. Although often bawdy and suggestive, it did not involve stripping – and still doesn’t in it’s traditional form and yes, there are practitioners of this ilk today.

‘Burlesque’ is a classic theatre-form which in it’s true essence, is ‘Spectacular Satire’. Both splendid and thought provoking, burlesque is the home of high-brow musical comedy, ironic iconography, playful punning and bawdy ‘Brit Wit’. It is a sophisticated ancestor of the modern pantomime. In Great Britain, burlesquing has remained relatively unchanged in 500 years and it’s history is steeped in powerful social change and icons of female empowerment. Among it’s most famous we count Geoffrey Chaucer, Eliza Vestris, J.R Planche, Gilbert & Sullivan, Lydia Thompson, The Western Brothers, Carry On and Monty Python.

Burlesques are traditionally performed by both men and women and are a type of elaborate censure based on social or historical caricatures. In this traditional form, burlesque tends to produce performance concepts that are often full of risqué suggestion, social commentary and bawdy gags. Such titillations were always as intelligent as they were saucy with the ‘tease’ often being one of verbal jest and jocularity.

The confusion over the burlesque content and it’s comparison to the stripping world comes as the form was reinterpreted to be less satirical and more risqué for it’s new American audiences, at the beginning of 20th century.

Burlesque as practiced in Britain often relied upon the strict social class divisions of the day, with each class ‘burlesquing’ another. In America’s less class oriented society, the satire was largely dropped in favour of the bawdy bits. The term ‘burlesque’ was then, some fifty years later used by new proprietors outside of the family-based vaudeville circuit, to describe the more adult-based variety shows in which a striptease act, or scantily-clad chorus line would also perform alongside comics. Loosely speaking, in early 20th century America, traditional British burlesque was taken out of ‘theatre land’, stripped of it’s previous identity, led down a back alley and then up some stairs to a ‘gentleman’s club’. Some of the theatrics were retained along with the bawdy humour. Borrowing from the style of 19th century burlesquers (of the classical British tradition), the strippers adopted the gimmicks and comical parodying that characterize this sort of performance. It was here that the term began to pick up its commonly perceived connection with adult entertainment.

So, burlesque in its earlier ‘classical’ sense, although often bawdy, actually had nothing to do with stripping or striptease – until recent days. By adapting to modern phrasing, we can confidently state that there are two forms of burlesque popular today – the traditional British form (often termed by academics as ‘classical burlesque’) and the much newer American burlesque striptease. Of course, as with any forms that share a point in history, you will often find elements from both genres overlapping in the modern burlesque performance.

It is also generally accepted that where striptease does occur in a burlesque performance, the striptease is designed as a transformation of character by costume, meaning that it is contextually relevant to the burlesque narrative. Otherwise, it is not technically a burlesque – it is a striptease.

Again, it is worth emphasizing that just as burlesque and striptease are separate art-forms, so strip-tease differs from the styles of stripping that you’d see in adult entertainment venues. At the risk of over-simplifying, although both focus on teasing, the differences lie in intention of outcome and the levels of nudity, where the former rarely ends in actual nudity and the intention is to entertain rather than to sexually arouse.

The styles performed today are often a mix of the older British and the modern American styles. Some do feature striptease, others do not. Each performer has his / her specialty and preference and therefore utilizes their individual skills to deliver varying degrees of humour or risqué intent.

Considering the history and modern transformation of meaning, a 21st century burlesque can now loosely be defined as ‘suggestive performance art’. If you are concerned about the level of suggestiveness when booking an act, simply ask for clarification.

Where can I find reputable teachers?

Taking up lessons from reputable teachers is an excellent way to start out, but do research your options – the person who happens to be most local or inexpensive may not be the best choice. There is no ‘standarisation’ or regulatory body to ensure safety and even basic skill. Be careful in choosing a class to attend as it’s not just you money that counts – it’s your quality of learning, fun, health and safety too. With the rise in popularity of burlesque, more and more people are looking to join in the on-stage fun. This has seen a concomitant increase in people offering to give ‘burlesque lessons’, not all of whom are in a position to honestly do so. I am available for consultation and direction and reputable teachers are available through MoB Academy.

Here are some pointers based on community feedback and experience. My hope is that you can learn from others’ mishaps:

The diversity of the genre. Burlesque is a diverse genre involving many skills, styles and should be available to everyone. Any teacher who seems to be selling their particular specialty (i.e. striptease) as burlesque, has misunderstood what they are purporting to teach. How are they going to address characterization? Prop comedy? Making satire accessible? If the title of the class is literally wrong, we can be confident that the content will fall short too.

The importance of insured, experienced and qualified instructors cannot be emphasized enough. You are likely to be engaging in moderate to upbeat exercise and teachers must be properly trained, insured and knowledgeable about the possibility of injury or strain. Your specific needs and any limitations of movement are important in your learning – and must be considered by any instructor. Also, be wary of anyone who uses any kind of ‘self-confidence coaching’ psychobabble without appropriate certification or experience – they could be doing you more harm than good.

How experienced are they – really? Make sure your prospective teacher also has adequate experience themselves in the burlesque world. You will want to ask for advice on putting your new skills in to action, and your first steps toward building a good reputation are crucial.

Ask any teacher about their own successful careers as Burlesque performers – i.e. how many years experience have they specifically in this genre? Have they travelled internationally? Whom do they work with? Which reputable agencies can provide corroboration of this? None? Oh dear…

Burlesque is a craft – not an adjective applied to any random class featuring a feather boa or buzzwords. The importance of having both teaching experience and performing experience are not to be underestimated. How will a teacher provide you with direction and advice if they have none to give?

Do ask for specifics, don’t be shy. Any genuine instructor will be thrilled that you are taking your education seriously enough to ask.

Where can I hire professional performers/producers?

Currently, there are only a tiny set of burlesque performers who are considered by the wider entertainment industry to be ‘professional artists’ or genuine producers. These people are indeed few and are rare gems often with many imitators – but there is a glorious ever-growing circuit of hobbyist and amateur performers, many of whom are gifted and extremely creative. These people will be the stars of tomorrow

Since modern burlesque is a niche and newly emerged industry it is wise to therefore be wary of people making grandiose claims to experience and industry knowledge. There are very few professional stars and even fewer professional producers and educators in this genre, world wide.

The rise in the genres’ popularity has led to a boom in new first-time performers taking to the stage as well as promoters and agencies looking to cash in, this is natural. Of course the growing popularity of burlesque has been wonderful boost of new life and energy to the genre but in tandem, there is also a bandwagon. With so many newcomers competing for status, opportunity and work, there has been increasing room for exploitation. The people who end up paying for this, are the customers (quite literally).

When choosing whom to work with, consider the following points:

How long have they really been operating? Burlesque is a specialized craft and a niche industry ( I keep saying this I know…). Whether it is an agency, teacher, promoter or a performer stating ‘ten years of business’, this might actually mean nine years and 10 months of operating in the adult industry and a few weeks under a new rebranded ‘burlesque’ image.

Ask for references from reputable clients and seek evidence from past press and media involvement. Have they produced any notable starlets or even stars? Have they produced anything at all beyond a webpage/self-advert?

You get what you pay for. To perform burlesques well, it takes years of experience, natural aptitude and a professional attitude. To be considered ‘expert’ in anything it is estimated that ten thousand hours of practice must be acquired. Burlesque is no different and few can make anywhere near this claim. I have 18 years experience as a model, nearly ten years performing in burlesque specifically and now five years of full time research and operation as a producer and agent – yet the term ‘expert’ is still something to strive for!

Those among the small professional set of burlesque artists command their high fees accordingly. Be wary of agencies or performers offering to undercut established entertainers. Decide what you want and then be sure to get it – not a vague substitute. You can contact me for advice on booking (after all, I am the ‘cat who gets the cream of burlesque’) or visit my production company here.

How do I get involved in performing Burlesque?

First of all, do a bit of research to find out what tickles you the most. Discover the variety and history of it all. The online forums host a plethora of magazine articles here which should help, and a short history of burlesque can be found here. Whether you fancy being a performer, muse, photographer, critic, artist, stage manager, costumer, stylist or all round enthusiast, the Ministry of Burlesque can help you get started and provide guidance along the way. Why not come to our acclaimed High Tease show or Victorian Values or check our local clubs and scene groups too?

Anyone wishing to join in the fun of the burlesque scene and make new friends should join the Ministry of Burlesque community (MoB) for free, here. The MoB is a community set up to help new-comers get started, enthusiasts to meet and chat about their favourite things and to help professional performers and promoters network with one another. With over 20,000 unique visitors every day, the MoB Forums are the online hub of the burlesque world.

Choose your styles wisely to suit your personality (are you comfortable revealing your derriere or political persuasions to strangers?), body shape (do you feel good styled this way?) and lifestyle (do you have a job or career that might conflict with some styles?) and be sure to be loyal to what you want to do – not simply what others seem to be doing. Once you have some ideas, why not take a course with the MoB Academy or perhaps try our MoB Burlesque for Beginners DVD? The MoB offer affordable, professional tuition from experienced and insured instructors who will teach you the essentials of showgirl moves, burlesque basics, presentation skills and striptease technique as well as specialist skills. Contact me if you like and I can recommend individuals.

How do I choose a ‘burlesque name’ to perform under?

Choosing a name can be tricky and performers typically go through two or three versions of a name before settling. It’s a good idea to let it grow organically – try something which you feel suits you and then ask others to help tweak it.

Be careful what you pick as certain names will ‘pigeon hole’ you and once your name is established it is not advisable to change it. If there is any possibility that you might like to expand in to other genres, be sure your stage name allows for this.

Make sure your name is not misleading. Potential bookers need to understand what they will get when they book you – certain names will imply you have specialized skills or abilities i.e. ‘Trinny Trapeze’ would imply trapeze skills and ‘Lady Tease’ would imply strip-tease skills, etc.

The most memorable names are often puns, alliterative or onomatopoeic, so take your time over it. In the spirit of burlesque, names which are puns or evoke double-entendre are highly appropriate and attractive.

It is also important to avoid choosing a name that could be confused with another already in use. Established performers can be upset by new performers using similar sounding, meaning or even the same name which is confusingly similar. This is understandable and should be avoided. It benefits no-one to have confusion between identities. You may also be infringing on a registered trademark in some cases, which can lead to criminal prosecution in extreme circumstances. To help avoid clashes, do be sure to do your research. Perhaps start with our Performer Directory – the MoB Speakeasy – to ensure that nobody else listed is already using it or a confusingly similar one; also perform a search on the internet of your intended name including variations in spelling and then perhaps also ask on our forums too.

Certain semantic and phonic clashes are inevitable but most can be avoided by not using obvious clichés and common place names and words which are frequently found in the genre’s lexicon. Marketing Tip: Using commonly used names and words would also make it difficult for internet search engines to pick your name out from all the other possible references too.

Someone else is using my stage-name! What should I do?

If you are a performer and you find that someone has begun using a name which is the same or very similar to yours, the best thing to do is get a second opinion on the matter. Don’t wade in to unknown waters – don’t ride in on a high horse shouting about copyright, theft and the like it’s a theatrical business but no-one likes a drama queen ;p What may sound similar in one mind, might not match in an others. Many performers have needlessly opened up arguments over rhyming couplets or semantic puns and looked foolish in the process. Few performers are in a position where their stage name is recognisable as trademark to the degree that it would stand up under legal scrutiny.

However, having said all that, protecting your identity is important and if need be you should take polite action to resolve the matter. Contacting your name-sake to explain the predicament rather than complaining about it publicly on Facebook etc, is the first step toward a peaceful and dignified resolution. They may be unaware of the problem. They may have been using it longer than you realise. Secondly you can ask if there is another option to consider. It is in everyone’s interest to get along and have unique identities so be prepared to consider some change on your part too. Common sense and an ability to deal in fairness will be required.

Certain names will naturally sound alike and no one can lay claims to ownership of sounds or double-meanings but it is considered poor etiquette in the least, to ignore the effects of stepping on another’s toes. Aping an identity can be construed as ‘passing off’ which takes a person in to the legal mine fields of trademark infringement. Typically, registered trademarks have weight in these instances whereas unregistered marks often don’t. See the Intellectual Property Office for official guidelines and help on this matter. Also, if your stage name and persona are not already well known it will be difficult to justify your sole use of the particular name. Rarely will a performer be so established as to warrant legal proceedings over branding issues.

I have a routine, how can I get ahead in Burlesque?

If you are indeed keen to pursue a fancy in burlesque artistry, cabaret or ‘pinup’ modeling yourself, be prepared to invest a lot of your own time, money and effort in pursuit of a good routine or model portfolio – they can be very expensive hobbies and even more expensive and competitive career paths to take. I am available for consultation and direction on photo-shoots, ensuring the best results are achieved. You can see my own model portfolio here (I am 28 and have 18 years experience to share!)

Remember: it is your choice to invest in this personal pursuit and the financial cost of it is your own responsibility – not that of an audience or promoter.

Also, don’t forget that although there is a large and increasing hobbyist circuit, there is also a professional industry and a tiny one at that. Taking up the form does not equate to being a professional entertainer – at least, not without years of hard work, sacrifice and often disappointment first. It is important to respect that burlesque is a working business. Expecting remuneration for any novice pursuit is unrealistic. Having a pen and ideas does not make one a writer. Similarly, having a costume and ideas does not make one an entertainer. It is experience and ability which earns both reputation and wage.

The amateur or ‘hobbyist’ circuit is the best place to start performing as you will need to earn a good reputation through working with peers before larger promoters will start to book you. Take it slowly and learn the etiquette and skills needed backstage, onstage and online. The time will come when you will need to be able to ’sell’ your act too and here you will need excellent photographs and promotional material. Step by step, treading board by board…

Take advice from those who are successful and never be afraid to ask for advice, help or feedback. Why not attend one of the Ministry of Burlesque events and perform in their Battle of Burlesque? This is stage time given to newcomers seeking advice and feedback as well as exposure amidst a bill of seasoned pros.

Is it acceptable to copy or imitate well known acts – even from long ago? Old or New?

Burlesque literally means to ‘parody’ but don’t forget that a parody is very different to straight imitation or copying. A parody must contain direct referencing of the intended subject and make a new point or original comment. A direct imitation or copy of something historical differs greatly from something current.

Imitating or copying something from the past, is typically done in ‘homage to’ or in respect of the original artist and their work. If it is a parody then it is done with a sense of humour, pointing out flaws or obscurities. Performers intending to do either, should be sure that they do justice (and give credit) to their original source of inspiration. A weak copy is anything but a tribute. A cruel parody can be anything but funny.

Imitating or copying anything which is recognized as a signature act of a current performer is generally felt to be taboo and should be avoided. Copying a modern day performer’s act could also lead to an infringement of their performing rights and lead in to legal issues surrounding their persona and intellectual property. Don’t forget, successful performers have worked hard in carving out their niche and rely on their image and signature pieces for their own income.

However, if a certain signature act is so well known that it invites parody or satire, then playful use of the routine is generally acceptable providing the intention of the parody is clear, is justified and that the original artist is given due credit.

If in any doubt about the suitability of borrowing an idea from another artist, contact them before making any advance to ensure that you will not be treading on any toes.

When does a performer become a ‘Professional’?

This is a complicated issue but it is essentially about being realistic in terms of the many different factors which contribute to ‘professionalism’. There are no exact black and white criteria and different professions require different factors.

Overall, we can generally agree that to be a professional anything, there are two key factors involved:

1- Having the specialised knowledge or skill required.

As such, some professions are regulated or standardized in some way (i.e. accountancy, teaching and medicine) which makes it easy for us to identify and accredit professional labels to people. However, some industries (like burlesque, art or writing) are either too niche or defy a set of ‘rules’ to be obviously standardized in a meaningful way.

2- Being able to earn a living from it (and then paying appropriate taxes on those earnings).

To pursue something ‘professionally’ implies pursuit of financial gain and so to be a ‘professional’ you would need to first of all, be in a position to earn a meaningful income i.e. you get enough interest because of your ethic, attitude, reputation etc.

As a result, professionalism in the entertainment industries tends to be judged most heavily on income and personal reputation merits such as attitude and ability.

Amateur and Proud! Being an ‘amateur’ doesn’t imply a lower standard of work or a poor attitude. Not at all. The difference can simply be down to choice. The word amateur simply means that the person does not (or does not intend to) earn money from their pursuits. After all, Sherlock Holmes (the greatest detective of all time..) classes himself as an ‘Amateur Detective’ and many of the greatest sportspeople are classed as amateur purely because they do not get paid for the actual playing of their sport. An ‘amateur artist’ may simply indicate the pursuit of a person of leisure and independent wealth, thus the title is in no way indicative of a lower level of talent. In fact, some people rightly use it with a sense of ‘pride’.

Being a professional anything doesn’t make a person an expert in any way. In fact often is the case that the amateur enthusiast is the one bagging the 10,000 hours of practice required to justify a claim to be ‘expert’. This is a general criteria which applies to all things, no just burlesque!

For coaching and consultancy services from me, contact me here to discuss.

I don’t perform – how else can I get involved in the Burlesque world?

The ever growing world of burlesque clubs and revues means that there is ever growing opportunity for stage managers, set designers, costume designers and technical people among many other things. Like most producers, we at MoB are always keen to find soubrettes – that’s the theatrical term for ‘pick up artists’, costumed stage-hands who help clear the stage of fallen items and garments shed during an act.

Burlesque is a form of theatre and any part of theatrical production is applicable here too. From artist liaison, DJ jobs, set design, costume making and flyer designing to event photography and music cuing, there is something for everyone.

Beyond the clubs and shows, creative people can get involved in running websites, groups and fan clubs. Some ambitious folks also try their hand at coordinating and promoting an event itself. This can be a very rewarding project to undertake but it involves a great deal of people management, a lot of investment – and a lot of risk. With so many people (not to mention expectant audiences) relying on you to represent their best interests, this role should not be undertaken lightly.

Why not ask on the community forums for local clubs and groups who might like some help or creative input?

I need experience/exposure onstage and online – where can I get this?

Our talent network is free and provides you with a profile page including galleries, video and music uploads. Our network is even integrated into our MoB iPhone application! Join our directory here.

Profiles, jobs, networking, event listings and forums are also available to our MoB community members, so being available to the right people has never been easier. Join www.ministryofburlesque.com – it’s all free to use!

Profiles on our directory (and anywhere on line) which feature a showreel are always attractive to promoters and clients. Make sure you put up as much quality material, images and information as you can. Having references available from reputable promoters and agents as well as any press or media quotes is another good way of making sure your profile stands out. Keep it accurate and up to date to ensure it makes the right impression. Services can be hired here.

The more often you update your MoB profile and chat on the MoB forums, the more often you will be seen by industry people and the more likely it is that search engines will find your name in association with burlesque too. You get out what you put in!

Getting exposure on stage is also very important – as long as it is to the right people.

Whether you are honing and perfecting an act and in need of feedback or, whether you are ready to show the show-biz world what you can do, being seen by industry professionals will ensure progress is made. Even if that progress is feedback on how to improve, that’s progress where it counts.

To cater for new acts and new emerging stars, we organize special events – Movers and Shakers and Battle of Burlesque. These are designed to find and nurture new talent and is where the seasoned performers are on hand to help and encourage the new as they tread the boards. To register for one of these events, click here to send me an email.

How do I choose the correct corset for me?

When choosing a corset it is important that you get a well fitting one. Corsets vary not only in the size according to your waist, hips and bust but also in shape, length and style. Choosing which is right for you involves understanding the differences in the patterns – some cinch at the waist, other pull in at the ribs too, some emphasise the hips and others aim to reduce the hips.

There is no better substitute for trying an assortment on under the expert advice of a corsetiere. Make a point of doing so. A good corset can be an expensive purchase and it is important that you buy what is right for you.

Typically, corsets are bought 4 inches smaller than the natural waist size and the laces are pulled at the back to reduce the waist toward this goal of closure. It is important that you do not over-cinch your waist. Being comfortable and healthy is priority. Try www.whatkatiedid.com and www.corsets-uk.com for affordable vintage styles.

If using, citing or referencing please credit ‘K. L. Allan, Ministry of Burlesque’ and cite www.kittie.me.uk