The natural reaction against the monarchy, which brusquely cut itself off on all sides and expressed its majesty only in stiff pomp and frivolous ceremonies, particularly from the time when lucky victories ceased to gild the dictator in total brilliance, stirred resistance both in noble circles and in the upper bourgeoisie. The desire for a freer life and open expression was born. Art followed the trend of the age and changed its ideals. The volte-face (turn around) can be seen in the architecture, decoration and artistic representations. The emphasis was placed on nature, which is not to say that now the popular fidelity to nature triumphed, but in relation to the pompous, heroic character assumed by the age of Louis XIV, the fashions and practices above all had certainly grown somewhat more natural. A courtly idyll was being played out, and nature was donned like a mask.
At the start of the 18th century, the corset was reintroduced into the fashion realm. Since undergarments come into direct contact with the skin, they have always been an object of male fantasy. The corset on the body assumed the same function as scaffolding on a building. The function of the corset was to give effect to the bodily forms in accordance with the fashion. The corset restricted the body in compliance with fashion, and in doing so often had no regard for the natural shape of its wearer. The breasts were rounded, lifted, beautifully shaped or pressed flat; the hips became narrower or spread wider.
The corset was sometimes coordinated with the wardrobe or with other underwear such as the petticoat, and it was dependent on fashion and thus the object of vitriolic criticism. Its champions regarded it as the symbol of feminine morality, whereby the constriction of the body was equated with austerity of character. Its opponents, the doctors, hygienists and later the feminists, accused the manufacturers and creators of fashion of squeezing women’s bodies into an unnatural scaffolding which brought with it physical damage.