Undergarments are an important element of fashion, changing in step with aesthetics and attitudes towards the body.
In order to push up the bust for a feminine outline, the corset was framed with pieces of whalebone. First appearing in the early eighteenth century, the pannier became a mandatory item for court dress up until the time of the French Revolution. As the skirt widened in the mid-eighteenth century, the pannier was modified and split into left and right halves. Such huge panniers frequently became the subject of caricatures.
Crinoline and Bustle
One of the most characteristic features of fashion during the middle of the 19th century was the crinoline style. The crinoline originally was a type of petticoat made of linen and interwoven with horsehair (crin in French). The petticoat's structure was frequently improved with the swell of skirt.
With the appearance of the cage crinoline, which was easy to put on and take off, the skirt continued to expand, and reached its maximum size in the mid 1860s. The cage crinoline grew out of proportion, and it was troublesome just to walk or pass through a door. During this period, the crinoline phenomenon was often used as an element of satire in magazines.
The center-front busk and bones mold the curve from the waist to the abdomen, while neatly arranging the lower abdomen, as well. This corset is a vivid reminder of the painting, Nana, by Edouard Manet. Women used corsets in an effort to get closer to an ideal physical form of the time; until the beginning of the 20th century, their waists were tightened by the corset.
The metal spoon busk at front center and the satin-based textile identify this corset as a type popular in the 1880s. Spoon shaped busks were used from the mid-1870s to the end of the 1880s in the belief that they would put less pressure on internal organs as a result of the broader curved section spreading the load over the abdomen.
The female body was squeezed most tightly into corsets in the early days of the twentieth century. The corset here is supported by a long steel busk at the front and the sold boning around the body. The body had to be forced to fit the artificial S-curve of the dress, which emphasized the bust and hips, while making the waistline as small as possible.
At the dawn of the 20th century, new fashions for the active woman that were straight and light were largely adopted. This also caused upheaval in the construction of women's underclothes. To wear under the new, light dresses, delicate, slim silk chemises appeared in the market, taking the place of chemises worn directly on the skin that were the standard for so long.
This is the "monokini," a topless bathing suit that shocked the world. This showed the new realization that the skin itself could become a beautiful garment. Rudi Gernreich was a designer strongly conscious of bodies in developing his works since the 1960s. It was his unique think-outside-the-box approach.
After his debut at Paris in 1976, Jean-Paul Gaultier quickly noticed the street fashion phenomenon of using underwear as outerwear. From the early 1980s he transformed various items of underwear including corsets and brassieres into active outerwear. The use of underwear as outerwear by Gaultier triggered a big boom from the 1990s, becoming a universal approach.
The white knit material of this dress seems to cling to the body lines. The black leather brassiere underneath is expected to be visible through the dress. In the late 1990s, even luxury and edgy brands such as Gucci and Prada successively introduced camisoles and slips that were more refined, enabling them to be used as tops and dresses. The conventional understanding that underwear should be invisible was gradually changing.
A simple and modern slip reminiscent of lingerie in the 1930s, from the line of lingerie released by Prada in 1998. Underwear, which had been publicly invisible, became close to outerwear in the late 1990s, and the difference between the categories almost disappeared. This slip can be used as outerwear as well.