file - Junior Design Research Conference

Inside Out
XX century Lingerie , it’s reflection
on fashion concept «underwear-asouterwear» , early XXI century
«sheer-trend»
and it’s extension in future
Table of content:
1. Introduction of the topic
2. Undergarments throughout XX century- viewed from the perspective of various
factors
2.1 Intimate apparel advertising
2.2 Feminist movement impact on lingerie
2.3 Undergarments after World Wars
2.4 1950’s-Return of the repressed waist
2.5 The appearance of «underwear-as-outerwear» trend and its interlacing with Punk
culture
2.6 Cinema and lingerie
2.7 Photography and lingerie (fetishism in photography)
3. XXI century appearance of «Sheer Trend»
4. Psychological aspect behind transparency in clothes
5. Classification and origins of sheer materials used in fashion until now
Prognosis on future sheer trend extension. Possible new fabrics-materials options
7. References
While fashion most often celebrates clothes that are visible on the outside, underwear-asouterwear and sheer trends diverge from the norm by focusing on what’s worn underneath.
The interpretive frameworks and historical understandings present in this work draw upon a
range of methodologies and disciplines, including costume, art history, social science and
psychology analysis. Studies in these fields have highlighted the relationships between social
status ,fashion, erotism, seduction, modernity, modesty and feminine identity, all of which are
important components of interpretation of intimate apparel’s history.
This work look closely at the phenomena of underwear-as-outerwear,
exploring what its violation of dress in a traditional focus and ethics tells us about consumer culture
and contemporary anxieties.
The analysis of works of experimental designers, the images of fashion photographers and
advertising industry that developed in the first decade of XXI century give an idea of a new
understanding of fashion and body interlacement.
Drawing on a variety of literary and theoretical perspectives from previous huge anarchy fashion
streams to political, financial and social background-the challenge of this work is to find a way to
research past so that we can also accommodate the present meanings and future possibility in
fashion.
From feminist born new generation lingerie through punk culture to sheer-trend the exposed body
of much 10s of XXI century exhibited symptoms of aggressive social claim for revolutionary new
concept of dressing the body, herein revealing it.
While studying this topic, a research was made through numerous of authoritative works but
all of them were indirectly, disparate.
This study looks primarily at the 10s being a link in a chain of exposed body fashion
transformation reasoned and proof- backed, also considering the possibility of further development.
Overview
Being the final barrier to the nude body, lingerie is simultaneously modest and erotic, and it remains
a subject of enduring fascination.
The design of lingerie enhances its allure: it strategically reveals, conceals, and highlights the
wearer’s form.
Underwear, although worn next to the body and hidden from outside view, is a crucial part of
gendered fashion system. Private and sexualized, yet essential to the shaping of the publicly viewed
silhouette, intimate apparel is critical to making body feminine.Undergarments are especially
significant to feminization of the body because they are associated with sexual anatomy often
perceived as vessels of essential femininity.
Adorned in undergarments, the body is clothed but not dressed.
And, as the first layer of clothing, they are also the last barrier to full disclosure of the body.Intimate
apparel’s varied construction from delicate lace lingerie to the armor of boned corsetry, providing a
range of symbolic, religious and real restraints.
The concept of underwear-as-outerwear is most commonly associated with the 1980s,
and was encouraged is by the manipulation of television soap series Dynasty and Dallas and movie
Striptease starring Demi Moore, which caused a huge buzz in the fashion and fame industry. Her
see-through lingerie was and still is considered as one of the best on-screen see-through
appearances of all.
The boundaries between underwear and outerwear is becoming vague.
the trend becomes more accessible
It’s been about 20 years since the birth of the trend, but the rudiment of it could date back to 1910s
when women’s corsets appeared. Lingerie at that time was so conservative that it is only for set off
the breasts. In 1974, Vivienne Westwood released the collection of underwear as outerwear which
opened up the beginning history of “Underwear as Outerwear”.
When Jean Paul Gaultier put the “Missile Bra Top” on a men’s pinstripe suit, it didn’t bring huge
responses. Things hadn’t changed until Madonna wore golden “Ice Cream” Bra Top designed by
Jean Paul in her MDNT world tour in 1990.
1994 was the year of Wonder Bras.
See-through fabrics have been featured heavily again on high-fashion runways since 2006.The
use of see-through fabrics as a common element in designer clothing resulted in the "sheer fashion
trend" that has been predominant in fashion circles since 2008.
This trend represents a breaking down of boundaries between ready-to-wear and intimates.
Ultimately, it’s a trend that is bringing the focus back to the woman’s body.
What we’re observing nowadays- people increasingly want to subtly show off their lingerie, but it’s
not showing up bloomed sexuality, it’s about giving a hint of something.
REFERENCES of TRANSPARENCY IN FASHION HISTORY from beginning of XX
century
By the end of the 1790s, Louis-Sébastien Mercier, observing the dress of Frenchwomen, noted that
demi-mondaines were dressing in a manner he described as "a la sauvage", comprising a semi-sheer
muslin gown worn only over a flesh-coloured bodystocking, with the breasts, arms and feet bare.
Mercier blamed the public display of nude or lightly-draped statues for encouraging this immodesty.
In the very late 18th century and for the first decade of the 19th, neoclassical gowns made of
lightweight translucent muslin were fashionable. As the fabric clung to the body revealing what was
beneath, it made nudity à la grecque a centrepiece of public spectacle. The concept of transparency
in women's dress was often satirised by caricaturists of the day such as Isaac Cruikshank.
Throughout the 19th century women's dresses, particularly for summer or evening wear, often
featured transparent fabrics. However, these were almost always lined or worn over opaque
undergarments or an underdress so that the wearer's modesty was preserved.
1900s-1910s
A fashionable garment in the early 20th century was the "peekaboo waist", a blouse made from
broderie anglaise or sheer fabric, which led to complaints that flesh could be seen through the
eyelets in the embroidery or through the thin fabric. In 1913 the so-called "x-ray dress", defined as
a woman's dress that was considered to be too sheer or revealing, caused similar consternation. In
August that year the Chief of Police of Los Angeles stated his intention to recommend a law
banning women from wearing the "diaphanous" x-ray dress on the streets. H. Russell Albee, the
Mayor of Pittsburgh, ordered the arrest of any woman caught wearing a x-ray dress on the street,
which was defined as a gown cut too low at the neck or split to the knee. The following year in
1914, Jean-Philippe Worth, designer for the renowned Paris couture House of Worth, had a client
object to the thickness of the taffeta lining of her dress, which was described as "thinner than a
cigarette paper". Worth stated that using an even thinner, sheerer lining fabric would have had the
effect of an "x-ray dress”.
lingerie 20-s
Female clothing change around the First World War It was only by the beginning of the
twentieth century that a real change in women’s fashion began to be felt and the cumulative efforts
of political women’s rights movements had a real impact on women’s fashions. Female clothes
changed and became more relaxed: haute couture designer Paul Poiret advocated not using corsets
anymore, designing instead female pantaloons and non-fitted clothing. Coco Chanel had already
introduced softer fabrics for easier feminine clothing. However, the greatest female fashion
revolution occurred after the First World War, when fashions changed alongside women’s roles in
modern society. Women got new rights, penetrated universities, and entered the workforce in
numbers. First and foremost, underwear, whose purpose had been for centuries to design the female
body, was left to promote a “natural” body: the corset was discarded and replaced by a chemise or
camisole and bloomers. For the first time, women’s legs were seen, with hemlines rising to the knee
as dresses became shorter and more fitted. A kind of masculine look, including flattened breasts and
hips and short hairstyles, such as the bob cut, was adopted. Thus, abstract feminist ideas of freedom
and equality of rights were translated into concrete forms and objects, as women first liberated
themselves from constricting fashions and began to wear comfortable clothes.———-DRESS AND IDEOLOGY
FASHION AND FEMINISM SHOSHANA-ROSE MARZEL AND HENRIETTE DAHANKALEV
Fashion in second-wave feminism Dress was also important during the second wave of feminism.
During the late 1960s and the 1970s women’s skirts shortened to miniskirts, abandonment of the bra
was advocated, and tight clothing, sometimes even drew attention to the new pressures brought on
women by the advent of almost-nakedness as well as body-shaping techniques such as plastic
surgery, diet, and exercise.
the French Revolution, nineteenth-century political events, the World Wars, and contemporary
Islamic presence in Europe show that whenever a gender struggle arises, fashion and clothing are
involved. Clothing was and still is employed to express one’s individual opinion, sometimes instead
of using words. Conforming or resisting to dress codes is one of the immediate forms of social
statements expressing consent or objection to the social order. Indeed, when observing the last 200
years’ “big events,” it is impossible not to see that clothing, and feminine clothing in particular,
cause public discussion to erupt and stir up significant public storms. In a very consistent manner,
feminist struggle used clothing in order to promote its agenda. Often mixing practical arguments
with symbolic ones in the demand for clothing change, feminists always understood that visual
appearance cannot be detached from ideological struggle. Most interestingly, the real revolution in
feminine dress came after more than a century of feminist struggle: by the beginning of the 20th
century, feminine clothing became shorter, easier, and, most importantly, women began losing the
undergarments that for centuries had constricted their movements.
opportunities opened up for women in education, work, and politics. These new possibilities were
symbolized as well as made possible through feminine fashion. Clothes are not only symbols, but
also a way to live, to move, to run, to work, to sit, and so on.————-DRESS AND IDEOLOGY
1960s
See-through and transparent clothing became very
fashionable in the latter part of the 1960s. In 1967, Missoni
presented a show at the Palazzo Pitti in Florence, where
Rosita Missoni noticed the models' bras showed through their
knit dresses and requested they remove them.However, under
the catwalk lights, the garments became unexpectedly
transparent, revealing nude breasts beneath. The see-through
look was subsequently presented by Yves Saint Laurent the
following year, and in London, Ossie Clark presented sheer
chiffon dresses intended to be worn without underwear. The
trend led to jewellery designers such as Daniel Stoenescu at
Cadoro creating "body jewellery" to be worn with sheer
blouses and low-cut dresses. Stoenescu designed metal
filigree "breastplates" inspired by a statue of Venus found at Pompeii, which functioned like a
brassiere and were designed to be visible through the transparent shirts while preserving the
wearer's modesty.
1970s
-When I did punk, I never in my whole career thought I would be able to create something that
would make such an impact.It was so different to anything that had ever been around before
-Vivienne Westwood
Punk was chaotic, anarchic, and iconoclastic.It was also heroic, artistic and virtuosic: and it
changed the nature of creativity irrevocably.Punk’s legacy has had an enduring and pervasive
influence on high fashion, and on a broader culture, often to surprisingly beautiful effect. Punk's
rampant mixing of references owes much to Dada and postmodernism, and connects directly the
fundamental making and self-expression of art
Examines the impact of punk’s subversive yet innovate aesthetic on high fashion, focusing on it’s
do-it-yourself impulse-the antithesis of couture’s made-to-measure precision
haut couture has readily appropriated the visual and simbolic language of punk, replacing beads
with studs, pallets with safety pins and feathers with razor blades to capture the the style;s
rebellious impetiosity.
-Punk-chaos to couture by Bolton
Punk trends legacy lies in its questioning of traditional representations of both beauty and fashion
Punk broke the rules and allowed everything to be possible
in a bizarre twist of fate their ethos of do-it-yourself has become the future of “NO FUTURE”.
Punk rock artist Patti Smith wears a see-through slip inside-out on the album cover of her 1978
album Easter.
-Vivienne Westwood
Gareth Pugh A-W 2008-2009
-Burberry by Christopher Bailey S-S2011
-Dolce and Gabanna A-W 2007-2008
-Givenchy by Ricardo Tisci
-Comme des Garcons
Fetishism
The 1970s saw the spread of sexual liberation, women's liberation, and gay liberation—all
movements that provided a context for the emergence of fetish fashion. Although many feminists
regard fetish fashion as exploitative and misogynistic, the iconography of sexual fetishism
unquestionably focused on images of powerful women. The image of the dominatrix or phallic
woman was especially pronounced in the work of Helmut Newton, a very influential fashion
photographer of the 1970s. As a result of his controversial pictures in magazines such as the French
edition of Vogue, Newton is often credited with having made fetishism "chic." One of his fashion
photographs of 1977, for example, was titled "Woman or Superwoman?" It showed a woman
wearing a leather trench coat by French designer Claude Montana, accessorized with riding boots to
convey the image of an Amazon, a subcategory of the dominatrix.
Jean Paul Gaultier is another designer who pioneered fetish fashion in the 1980s. Gaultier has told
interviewers that, as a child, his grandmother's flesh-colored corsets fascinated him, and he
describes the process of lacing a corset as ritualistic. Many of his designs for both men and women
have featured corset-style lacing. He is probably most famous for the corset that he designed for
Madonna's Blonde Ambition tour, which helped launch the trend for underwear-as-outerwear.
Lingerie, of course, has become a ubiquitous influence on fashion
Perhaps even more than Gaultier, Thierry Mugler has focused on corsetry and on fetishized
materials such as rubber and leather to create costumes that evoke the image of "the phallic
woman." One of his couture ensembles was entirely handcrafted of leather, including a leather
neck-corset. It resembled the carapace of an insect. Other hard-bodied styles include metal corsets
and entire ensembles made of metal and plastic, which transform the wearer into a kind of armored
cyborg. Indeed, there is virtually no fetish ensemble—from the clothing of the equestrienne to the
military uniform—that has not appeared on Mugler's runways.
Fetish Fashion
Author: Valerie Steele
Source: A-Z of Fashion
1980s
The trend for sheer fashions was encouraged in late 1980s by the manipulation of television soap
series Dynasty and Dallas. Celebs like Brooke Shields and Cindy Crawford were the major
contributors in this regard but Demi Moore was the basic source of inspiration for the popularity of
see through clothing. Her movie Striptease caused a huge buzz in the fashion and fame industry.
Her see-through lingerie was and still is considered as one of the best on-screen see-through
appearances of all times. In the late 1990s, however, as the trend died down, stars, models, and
socialites were attracted more by silk and leather rather than see-through. Occasional items were
seen on celebrities but there was no major see-through trend in the fashion industry overall.
…
Helmut Newton Phatographer
-Thierry Mugler Designer
-Thierry Mugler designer
-Madonna Blond Ambition Tour
-Thierry Mugler designer
Sheer trend 2006-2008
Madonna singer
Jean Paul Gualtier designer
Sheer Trend 2006-2008
Christian Dior
Costume National
Allesandro del Aqua
John Galiano
Vera Wang
Nina Ricci
Sheer Trend 2012-2015
DKNY
Elie Saab
Carolina Herrera
Balenciaga
Valentino
Giorgio Armani
Stella McCartney
Givenchy
Domenico Dolce and Stefano Gabbana -“Lingerie is the maximum expression of a woman’s
femininity,” says Gabbana. “Instead of covering a woman’s body, we prefer to accentuate its
qualities.”
“…At the spring/summer 2014 collections shown in Paris in October, Stella McCartney mixed her
crisp suiting with sensuous lace-trimmed slip dresses and camisoles. She wasn’t the only one to mix
innerwear and outerwear. There were bra-tops at Prada, Isabel Marant and Dolce & Gabbana, an
endless parade of see-through lace at Burberry; fishnet bodystockings worn by melancholy Vegas
showgirls at Louis Vuitton; big underwear-revealing skirts at Giambattista Valli; and layers upon
layers of sheer everywhere from Balenciaga to Calvin Klein Collection.
The trend has even crossed over to the high street. “Outerwear and lingerie will intertwine further
next season
“look at me” items such as longline bralets and camisoles to skin-tone pieces designed to do a
disappearing act under sheer fabric.”-Vogue
References:
Fashion at the Edge
by Caroline Evans
Dress and Society
by Jane E. Workman
Punk-a Chaos to fashion
by Andrew Bolton
The Social Psychology of Clothing: Symbolic Appearances in Context
by Susan Kaiser
Fetishism
by Ellen Roy
Feminism, Femininity and Popular Culture
by Joanne Hollows
Dress and ideology
by Shoshana-Rose Marzel, Guy D. Stiebel, Hentiette Dahan-Kalev
Vivienne Westwood
by Vivienne Westwood an Ian Kelly
the Fashioned body
by Joanne Entwistle
Irresistible: The Art of Lingerie, 1920s-1980s– 1 Mar 2012
by Desire Smith
La Perla: Lingerie and Desire – 23 Oct 2012
by Isabella Cardinali
Exposed: A History of Lingerie – 1 Jul 2014
by Colleen Hill
1000 Dessous: A History of Lingerie (Klotz)– 26 Jun 1998
by Gilles Neret
Quotes:
«…Alterations of undergarment design and function, in dynamic relationship with shifts in
outerwear, provide material evidence of larger social changes taking place in women’s lives.The
history of this garments evolving shape and purpose thus reveals how women’s struggles for selfdefinition interact with resistant social forces to reconfigure gender distinctions.The decline of the
rigid nineteenth-century Victorian corset, for example, was a key factor in the transition to
twentieth0century fashion and modern moral codes: the «corsetless» dresses designed by french
couturier Paul POiret in 1908 both drew on and furthered public disenchantment with the rigid
corset, which was already under attack by aesthetic, feminist, and health and hygiene movements…
…The revival of fashionable corsetry after World war II was especially vigorous in the 1950’s,
paralleled the renewed emphasis on domestic femininity of that era.The new look presented by
Christian Dior in 1947, sparked the coset’d return to fashion…
…Undergarments serve as sexual foundations both in conforming women’s bodies to a fashionable
form that conveys particular ideas of feminine attractiveness and in creating a shaped base over
which outwear styles can be properly fitted.The strong association of lingerie, corsetry, and other
forms of underwear with eroticism imbues these articles of dress with a sexual life and history of
their own, detached from the female bodies they are meant to adorn.one explanation for their status
as sexual and commodity fetish objects within culture. especially since ward war II, is the stillpersuasive traditional psychoanalytic accounts that attribute deep male anxiety to men’s fear of
anatomical difference…»
-Irresistible: The Art of Lingerie
by Desire Smith
“…Fashion has often been associated with women’s obedience to codes of dressing that aimed
at their objectification and rendering them sexual objects for men. Therefore, feminist and gender
critiques study fashion and dress as oppressing patriarchal tools. However, clothing has also been
part of feminist combat for more than 200 years. Some feminist movements have used clothing in
order to promote their agendas over the last two centuries. Our working hypothesis is that the issue
of dress in the feminist movement has been instrumental, as it has in other ideological movements.
However, within feminist movements, contrary to others, dress forms changed over time. In the
feminist perspective, freedom and civil rights equal the right to wear whatever a woman wants.
Moreover, clothes in the feminist struggle frequently contain an important symbolic dimension,
often taken as a subversive act against gender oppression. Proper attention can provide us with
significant knowledge about the effect of clothing as a political factor during these events. The same
can be said concerning gender research: not a lot has been written on clothing, few among the many
dealing with this topic)…”
-FASHION AND FEMINISM SHOSHANA-ROSE MARZEL AND HENRIETTE DAHANKALEV
“ Identity
in clothing is a well-researched topic in fashion studies, as clothing is often used by individuals to
express components of their identity such as gender, social status, age, profession, and so forth.
According to Susan Kaiser, “There are two important functions to clothes in nonverbal
communication. First, they help us to negotiate identities, as we present our situated identities or
roles, moods, values, and attitudes to one another. Second, they help us to define situations, that is,
to socially construct the basis for our interactions.”
—Susan Kaiser
“ From sweeping changes of a woman's role in society to the technological advances that produced
a spectrum of new colors and range of textiles, the form and style of lingerie has undergone a
significant transformation. Photos, sketches, and vintage ads tell the story behind the designs for
bodices, negligees, pajamas, nightgowns, bed jackets, girdles, garters, and more.
What is the difference between a naked female figure and one clad in lacy, revealing garments
known as lingerie? The physical appearances are indeed different, but they have both come to stand
and symbols of desire and sex appeal. Lingerie is a unique object in that its power lies in its ability
to hide something else. Or is it rather that is exposes something, but still manages to leave
something up to the imagination of the viewer? what lingerie desires is to inflict thoughts of
nakedness, thereby heightening the anticipation of viewing a naked body in its entirety. By acting
as a physical barrier between a viewer’s eye and the naked body, lingerie utilises a sense of
prolonging the waiting period before viewing the naked body will be released. This object has
come to stand as a symbol of desire that references the naked body without actually showing it, and
has proliferated in the mainstream culture despite, or perhaps because of, what it has come to stand
for.”
-Ellen, Roy. 1998. Fetishism.
“Although lingerie has come to serve as a symbol of desire, it was not originally intended for this.
Lingerie was once a term that referenced the undergarments worn by women that were not shown in
public, but rather were kept to themselves. With the development of companies like Frederick’s of
Hollywood and Victoria’s Secret, lingerie was transformed from functional undergarments to the
desirous thing it is today.”
-Ellen, Roy. 1998. Fetishism.
SHEER FABRICS
See-through or sheer fabric, particularly in skintone (called "nude") colours, is sometimes called
illusion, as in 'illusion bodice' (or sleeve) due to giving the impression of exposed flesh.
A sheer fabric is one which is semi-transparent thin cloth.
These include chiffon, georgette, and gauze. Some are fine-denier knits used in tights and stockings,
dancewear, and lingerie. It can also be used in tops, pants, skirts, dresses, and gowns.
Latex rubber, which is naturally translucent, or plastics can be made into clothing material of any
level of transparency. Clear plastic is typically only found in over-garments, such as raincoats. The
use of translucent latex rubber for clothing can also be found in fetish clothing. Some materials
become transparent when wet or when extreme light is shone on it, such as by a flashbulb.
TRANCPARENCY IN CLOTHING
See-through clothing is any garment of clothing made with sheer material that allows the wearer's
body or undergarments to be seen through its fabrics.