Excerpts from A Century of Lingerie by Karen W. Bressler, Karoline Newman, and Gillian Proctor

A Changing Order

Women of all ages benefited from the newly developed bras. The growing number of affluent teenagers in the United States provided a new market for the lingerie manufacturers, and 1956, the first exclusively teenage lingerie fashions featured training bras – soft cupless, wireless versions specifically designed for over-eager preteens. Manufacturers also branched out into improving strapless bras for an even sleeker silhouette under the halter neck and backless evening dresses that were all the rage. Some evening and cocktail dresses contained built-in brassieres to relieve the wearer of putting on an additional undergarment.

Nonetheless, the bra began to lose its importance as a fashion item, although it also gained status as a political statement. During this era of individual expressionism, seen in events such as the 1960s pop festival Woodstock, political rallies, and peace movements, semi-nudity or nudity was in the spotlight. As clothes skimmed the body, women no linger needed underwear that imposed on them and many thought of the bra as the sysbol of the oppression of femininity.

But while daring women went without them, most wore a lightweight version like Rudie Gernriech’s “no-bra bra.” In 1964, Gernreich introduced this bra without the intention of its molding the breasts in specific shapes, but in an attempt to cover them comfortably. Some women favored light-as-air stretch bras, bikini underwear, and the occasional half slip. Those who did not discard their bras but still believed in what the act symbolized simply cut out the nipples, so they could at least say they tried to make a point.

In 1965, Gernreich grew even more creative and launched his Exquisite Form collection of sheer tricot nylon in white, black or, the most popular, nude. The hippie generation, which dressed in tie-dyed and flower-power motifs, inspired the same designs to appear on bras and panties. In 1968, Emmanuelle Khan designed a white tulle bra with strategically placed white lace flowers for Erys, and in 1969 Ungaro flirted with the technological silhouettes of the future and designed metal bras.

This vogue for transparent fashions was taken to extremes by designer Paco Rabanne’s plastic minidress of 1965, made of linked plastic and metal disks. But those who chose not to leave all on display found creative bra styles to wear and innovative ways to wear them. Some opted for bras done up in animal prints, spots, and splashes of color, many of which were sold with matching panties, slips, an dbelts. Bras turned up in embroidered nylon, cotton lace, net or wire, usually with padding in the cups, while bra cups were mounted with elastic to fit snugly around ribs, and straps were crossed over the back for extra support. Lace trimming and panel insets complemented each other perfectly, as did appliqués and cutouts.

Stretch Support

The new breed of body-shaping bras were wire – and padding free. While earlier models like those from Helenca featured specially-stitched padding in nylon, lace, marquisette, and elastic net, new brassieres were cut in light nylon tricot. In 1964, the total control sportswear bra was introduced by Sarongster, and three years later, Formfit launched the lightest bra to date, subtly shaped in nylon and elastic and with straps which were adjustable from regular or halter-neck. It was practically invisible under even the sleekest clothes.

Even the colors chosen, like the black polka dots on white on Gernreich’s Exquisite Form, provoked the interests of both the wearer and of others who were fortunate enough to catch a glimpse. Vogue referred to the vibrant shades and psychedelic prints as a “pulse-beat brilliance” that gave the lingerie the same energy as the era it was designed in.

As the ideal figure for a woman transformed from sleek and savvy to a tall, slim, boyish shape, it was often difficult to tell the boys for the girls except for their lingerie. Many women continued to go braless as fashion became unisex and androgynous, but others who had abandoned the bra now turned back to it for support.

Although there was a whole new range of bra styles to choose from, most were in transparent fabrics that showed off breasts in their natural shapes. At the start of the 1970s, bras wre rarely rounded at the cups, some with low cleavages, narrow backs and shoulder straps; the halter-neck bra was introduced in 1972. But by the middle of the decade, the rounded bra returned, with wiring to hold cutaway cups in place. Light and transparent, bras were cut in molded jersey and satin, then later in crepe de chine, mousseline, and georgette.

As every kind of exercise became fashionable and required its own clothes, bras became more flexible in form. Even the cup edges were molded with elastic, making lingerie ready for action. A new technological process allowing curved parts of bras and girdles to be molded seamlessly from one piece of elastane, gave bras a ndw life. The softest bra of the decade, versatile enough to wear for any fitness craze evolved later in the decade, women were well prepared.

Luxury in lingerie continued into the 1980s as designers turned out lingerie to complement more body skimming fashions. Women were in hot pursuit of designer clothes, making their creators popular icons of the fashion business. Jean Paul Gaultier, Thierry Mugler, Claude Montana, and Azzedine Alaia were among the innovators of body conscious clothing, and designers Vivienne Westwood and Jean Paul Gaultier created entire collections around bras, corsets, and basques. Lingerie followed suit with bras in sensual fabrics such as silk and satin for day and evening, like those created by designer Janet Reger, which flattered the body and were soft to wear.

Although the 1980s started with a vogue for tranquil lingerie colors, from white, flesh, coffee, black, and pinkish-mauves to embroidery in contrasting shades, adventurous colors such as burnt orange, turquoise, fuchsia, peach, apricot, pastel blue, and olive green all appeared later in the decade, often used in erotic prints and funky patterns. Bras were designed in printed cottons, printed nylon, printed jersey, and eyelet lace with panties to match.

The type of fabrics available increased too. While fine cottons were always a staple, silk and satin imitations like Lycra silk, satin crepe de chine, and polyester equally convincing in appearance and feel, made soft lingerie more accessible and affordable. With a dedicated following of Lycra fashion, this popular fabric made it w3ay both into dance clubs – where hiphop and break dancing moves prevailed – and onto the streets as bikerwear became a part of everyday fashion.