The history of bras is inevitably linked to the social history of women's status, including the evolution of fashion and changes in women's body view.
Women have used various clothing and devices to cover, hold, reveal, or modify the appearance of the breast. Clothing such as a bra or bikini is depicted in some female athletes of the Minoan civilization in the 14th century BC. From the 14th century onwards, the underwear of rich women in the Western world is dominated by a corset, which pushes the breast up. In the latter part of the nineteenth century, women experimented with alternatives such as splitting the corset into a retaining device such as a belt for the lower body and transferring the top to a device hung from the shoulder.
At the end of the 19th century, bra replaced the corset as the most widely used breast support tool.
At the beginning of the 20th century, clothing more like a contemporary bra has emerged, although large-scale commercial production did not occur until the 1930s. Since then the bra replaces the corset (though some women prefer camisoles) and some, too, go without. The shortage of World War II metal pushed the end of the corset. By the time the war ended, most fashion-conscious women in Europe and North America wore bras. From there the bras are adopted by women in Asia, Africa and Latin America, although we have no information about what arrangements, if any, that immediately precede the adoption of bras in Asia, Africa and Latin America.
During the 20th century, greater emphasis has been given to the fashion aspect of the bra. Bras manufacture is a multibillion dollar industry dominated by large multinationals.
Video History of bras
Ancient
Egypt
In ancient Egypt, women were generally bare-chested. The most common items of women's clothing are skirts and dress sheets, also described as tunics or kalasiris, a piece of rectangular fabric that is folded once and sewn to the edge to make the tube. Kalasiris may cover one or both shoulders or worn with shoulder straps. While the top can reach anywhere from under the breast to the neck, the lower end generally touches the ankle. The variant is a single cross, partly above the left breast. Shorter calasiris is mostly worn by ordinary women or slaves, to be more comfortable while working.
India
Although the majority of female characters in ancient Indian statues do not have blouses, there are some examples of ancient Indian women wearing bras. The first historical reference to a bra in India was discovered during the reign of King Harshavardhana (1st century CE). Bra and blouse were sewn very popular during the Vijayanagara empire and the towns were filled with tailors who specialize in the tightness of these clothes. A half-armed tight corset or kanchuka is prominent in the literature of this period, especially Basavapurana (1237 AD), which says kanchukas is worn by young girls too.
Greek
Wearing special clothing designed to hold women's breasts may have come from ancient Greece. The wall painting in Crete, the center of the Minoan civilization, shows a woman performing athletics in what has been described as a "bikini". The Minoan women on the island of Crete 3,000 years ago apparently wore a partially supported outfit and also revealed their breasts; the best example of this style is the Snake Goddess. Their clothes look somewhat like a modern corset or a corset or carousel. Supporting devices are worn outside other clothes and supporting and exposing the breasts, pushing them upwards and making them more visible. Mycenae's successful civilization emphasizes breasts, which have special cultural and religious significance, connecting adult figures with fertility and procreation.
Women in Classical Greece are often depicted loosely wrapped in beautiful clothes, or with one open breast. Woman wearing apodesmos (Greek: ?????????, then stethodesm? (Gr: ?????????), mastodmos (Gr: ???????????) and mastodeton (Gr: ??????????), all means "breast-band ", a collection of wool or linen wrapped in the chest and tied or pinned on the back.
The belt can also be fastened over a simple outfit or underwear tunic, just below the breast or over the breast. When apodesmos is used under the breast, it accentuates them. Another word for band-breast or belt is strophion (Gr: ????????). The next term is kestÃÆ'³s (Gr: ??????, Latin: cestus ), used specifically for Aphrodite's belt in the Iliad, whose power makes every woman who wears it bearable for men. Given her relationship with the goddess of love, this type of clothing may have erotic connotations because of its effect to accentuate the breasts.
The basic items of the classical Greek costume are peplos , then chiton (two pieces of partially rectangled cloth stitched together on both sides, with 30 to 38 cm (12 to 15 in) overfold or apoptygma ), which evolved into chemise, the most common item of underwear worn by men and women for hundreds of years (also known as shirts or shifts). In Sparta, women usually wear chiton that is completely open on the left side.
Roma
Women in ancient Rome adopted the Greek form of apodme , known as strophium or mamillare . Because the Romans regard big breasts as funny, or the characteristics of aging or unattractive women, young girls wearing breast ribbons are strongly assured in the belief that doing so will prevent breast which is too big and sag.
The so-called "bikini girl" mosaic of Villa Romana del Casale (4th century AD) shows women performing gymnastics or dance routines while wearing clothes similar to a bra and pants without a rope. The other primitive iterations of the bra were drawn early on the preserved wall paintings in Pompeii by the eruption of Vesuvius in 79 AD.
Sometimes in the most sexually explicit Roman paintings, the breasts are kept closed by strophium . The setting in which the paintings were found indicates that the woman depicted may be a prostitute.
East Asia
In China, loose silk corsets are tied at the waist and tied or looped around the neck of the so-called dudou ( lit. Ã, "stomach covers") became fashionable among wealthy women during the Ming dynasty on the 14th 17th Century. It remained popular under the successful Qing Dynasty (17-20 centuries). It was adopted into Vietnamese culture as y? M and remain in the traditional usage between two cultures.
Maps History of bras
Medieval
In Europe, in the Middle Ages, it was great for women to limit or support their breasts and if they did, they might use something like a cloth binder, as suggested in the time description. A widely quoted statement is that the Strasbourg decree in the Holy Roman Empire, dated 1370 stated, "No woman will support the statue with the disposition of a blouse or with tight clothing." Archaeological discoveries circa 1390 to 1485 reveal that women actually supported their breasts in the Middle Ages. Four lace-decorated bras were found among 3,000 pieces of textiles during a renovation project in an Austrian castle. At the time of Charles VII of France (1403-1461), the screen curtain was used over the breast.
Generally, in the Middle Ages, breasts were reduced in dresses with straight bodies, full skirts and high necks, designed primarily for function rather than emphasis on shape. A late medieval dress fitting properly and fitted to the body and functioning as breast support. The portrayal of women in 14th and 15th century art shows a high round breast silhouette in old and young women, full of wounds and small. This appearance is not possible without support. The ideal form of the fifteenth century is a small breasts and full of figures, symbolizing the abundance of fertility.
At the time of the Renaissance, dÃÆ' Â © colletage became very fashionable. There are several statuses to tighten breasts in upper class women, who are not breastfeeding. Babies are given to a wet nurse for breastfeeding, because breastfeeding is considered bad if a woman wants to maintain an ideal shape. Among the richer classes, corsets began to appear in the mid-15th century.
Catherine de 'Medici (1519-1589, wife of King Henry II of France) is widely, and wrongly, blamed for the corset. He was reported to have banned the waist width in court in the 1550s, legend suggesting he make them wear a steel frame corset.
The complex limits placed on female figures for years are not universal. The corset makes it almost impossible to work, so simpler functional clothing is worn by women working inside or outside the home. Support for the breast is often provided by a simple tie under the breast line, in the corset.
Renaissance
The early 16th century corsets consisted of hardened adhesive linen and a primitive busk on the front but later included a rear and back iron support. The emphasis now is on shape, with compression of the breast forcing them up to the point of almost spilling out, so most of the breasts are exposed. The ideal shape is a flat body, which inevitably pushes the breast up and out. Working class with contrast wearing a simple front-lacing cotte.
During the French Revolution and Napoleonic Wars, any clothing associated with the aristocracy was condemned, including those with visible dÃÆ' Â © colletage. The breasts are often supported by a tie under the breast, and the bust-support outfit still extends from keeping it soft to wrap-front items similar to sports bra. In 1814, the court and corset returned.
French Empire
The royal dress originated during the Directoire period, popularized by women such as José © de Beauharnais. "Inspired by the mania for Graeco-Roman, with its connotation of artistic excellence and political freedom, the fashionable lady dumps a corset and adopts a transparent sleeveless tunic.With embracing the classic silhouette, in England this period is known as Regency During this era," fashion-conscious women... who studied fashion journals such as Le Journal des Dames et de la Mode , versions of the era Vogue , to see what Josephine wore and tried to imitate her style. The most popular chest support in this period was a short stay, a kind of girdle with a light bone.
Victorian_ra_in_Britain "> Victorian Era in England
In the Victorian era, despite the contemporary notions of morality, women's clothing was designed paradoxically to emphasize both breasts and hips by tightening the waist. Victoria ladies are weighed down with many layers of clothing, including long shirts with drawn necklines, usually drawers, then corsets and corset covers, skirts underneath, hoop skirts, excess skirts, and finally dresses. According to the social expectations of the time, even the lowest-cut evening gown should be no lower than three fingers below the clavicle.
Edwardian Era in England
In the Edwardian era, with some increase in the physical activity of women, the corset began to retreat south again, becoming more like a corset and accompanied by a separate upper garment appearance, Bust Bodice , or BB. For those who instead use one-piece undershift ( unionuit ), this is separated into a camisole and a drawer. This is not designed for support but only coverage.
The women's outfit emphasizes the "S" shape, with the stomach interested in giving posterior and breast superiority. In the late 19th and early 20th centuries, chests could still be displayed. "The sign of high courtesy will recede after the sun sets about six inches!" The corset remains a major form of support, but the war and its impact on lifestyle and material means that its future is uncertain.
Clothes Updates
The evolution of a corset bra is driven by two parallel movements: health professionals' concerns about the inhibiting effects of the corset, and the clothing reform movement of feminists who see that greater women's participation in society will require the emancipation of the bodice. Prominent among them are the Rational Clothing Institute, the National Clothing Reform Association, and the Reunion Gown Association.
Despite a number of voices warning about the considerable health risks of a bodice girdle, the health profession is generally silenced, and women ignore the "not out of date" suggestion. Health professions concentrate more on psychosomatic complaints, which may be related to a corset. Poor health is considered synonymous with femininity, and pale and normative ache. (Fictional female characters often die of tuberculosis, or "consumption." This leaves them pale and makes them immobilized.) The bodice should provide physical and moral support.
Some doctors ignore colleagues who feel the corset is a medical necessity because of women's biology and civilized needs. The doctor who raised the alarm pointed to nausea, intestinal disorders, eating disorders, shortness of breath, redness, fainting, and gynecological problems. Bed rest is a common prescription for "weaker sex," which of course implies help from the corset.
Women's interest in sports, especially cycling, is forced to rethink, and women's groups are calling for "emancipatory clothing." Elizabeth Stuart Phelps urged women to "burn bodice!" in 1874. Indirectly and directly, exercise empowers women in other social climates.
Not surprisingly, korsetère fought back, adorning their products to be lacy and feminine in the 1870s. Advertising takes on the tone of erotic images, even if in practice they act as a deterrent to sexuality, especially when they start appearing in men's magazines, emphasizing splits and empty sleeves (then taboo). The doll is assumed a corset image, embedding the image of an "ideal" woman form. The corset certainly reinforces a weaker sex image, is unable to defend itself, and also makes it a challenge to take off the cloak.
In practice, the early bra makes little market penetration. They are expensive, and only wealthy educated reformers wear it to some degree.
American women making important contributions include Amelia Bloomer (1818-1894) ("When you find a burden in confidence or clothing, throw it away") and Dr. Mary Edwards Walker (1832-1919).
The appearance of a bra in the 19th century
There is a considerable disagreement about who "finds" a modern bra or a bra. The Patent Dates show some landmark developments; a large number of patents for devices such as bras were given in the 19th century. However, what is considered the world's oldest push-up bra is found in a warehouse at the Science Museum in London. Designed to improve the cleavage, the bra is said to date from the early 19th century.
A device such as a bra that gives symmetrical rotundity to its patented breasts in 1859 by Henry S. Lesher of Brooklyn, New York. In 1863, the "corset substitute" was patented by Luman L. Chapman of Camden, New Jersey. Historians call it "proto-bra."
In 1876, clothing maker Olivia Flynt was given four patents that included a "true corset" or "Flynt Waist." It is aimed at big breasted women. The reformists stimulated demand and probably bought these clothes early on the grounds of "hygienic" because of their concern about the corset. Initially Flynt outfits were only available through postal orders, but they eventually appeared in department and clothing stores and catalogs. His design won a bronze medal at the Massachusetts Charitable Mechanics Association in 1878, at the Cotton Centennial Exposition in Atlanta in 1884-5, and at the Columbus Exhibition in Chicago in 1893.
According to the Life of Life magazine, in 1889, Herminie Cadolle of France invented the first modern bra. It appears in the corset catalog as a two-piece underwear, which he originally called the corselet chasm , and then le bien-ÃÆ'ªtre (or "welfare"). His clothes effectively cut the traditional corset in two: The bottom is a corset for the waist and the top supports the breast with shoulder straps. The description reads "designed to keep the breasts and supported by the shoulders." He patented his invention and showed it at the Great Exhibition of 1889. The company, still family-owned, claims today that Herminie "freed women by creating the first Bra." In 1905, the upper half was sold separately as the soutien-gorge, the name where the bra was still known in France. He also introduced the use of "rubber thread" or elastic.
In 1893, Marie Tucek received a US patent for a device consisting of separate pockets for each breast on a metal support plate and a shoulder strap tied with a hook. This invention is more like a modern bra known today, and is the predecessor of the underwire bra.
Clothes sewn at home compete with factory-made clothes, ready to wear. The bra is initially an alternative to the corset, as a neglect or clothing in the home, or worn by a woman with a medical problem derived from a corset. After a straight forward corset became fashionable at the beginning of the 20th century, a bra or "breast supporter" became a necessity for curly women because the straight-front girdle did not offer as much support and detention as Victoria style. Initial bra either wrap-around corset or boned, fitting camisole (both worn over the corset). They are designed to hold the breasts inside and down against the corset, which gives upward support.
Advertising times, usually in magazines, emphasize the advantages of a bra in the health and comfort of a corset and describes a shoulder-weary outfit in mono-breast style and with limited adaptability. Their main attraction is for those whose lung function and mobility are priorities, rather than outward appearances.
The 20th century and the modern era bra (United States)
The first modern bra was patented by German Christine Hardt in 1889. Sigmund Lindauer from Stuttgart-Bad Cannstatt, Germany developed a bra for mass production in 1912 and patented it in 1913. It was mass-produced by Mechanischen Trikotweberei Ludwig Maier und Cie. in BÃÆ'¶blingen, Germany. With the metal shortage, World War I pushed the end of the corset. By the time the war ended, most fashion-conscious women in Europe and North America wore bras. From there the bras are adopted by women in Asia, Africa, and Latin America.
In 1910, Mary Phelps Jacob (later known as Caresse Crosby), a 19-year-old New York socialite, bought a heavy evening dress for a debutant ball. At that moment, the only acceptable underwear was a stiff corset with a whalebone. Mary has large breasts and finds that whalebones appear protruding around her neckline and from under a thin cloth. Unsatisfied with this arrangement, he worked with his maid to make two silk handkerchiefs along with ribbons and pink cords. His innovation attracted immediate attention that night and, at the request of his family and friends, he made more of his new device. When he receives a request for someone from a stranger, who offers dollars for his efforts, he realizes that his device can turn into a viable business.
On 3 November 1914, the US Patent Office issued the first US patent for "Backless Bra." Crosby's patent is for devices that are lightweight, soft, comfortable to wear, and naturally separate breasts, unlike corsets, which are heavy, stiff, uncomfortable, and have the effect of creating "monobosomes."
Crosby managed to secure several orders from department stores, but his business never took off. Her husband, Harry Crosby, forbade her to pursue the business and persuade her to close it. He then sold his patent bras to the Warners Brothers Corset Company in Bridgeport, Connecticut, for $ 1,500 (roughly the equivalent of $ 21,930 in current dollars). Warner produced a "Crosby" bra for a while, but did not become a popular style and was finally stopped. Warner went on to earn more than $ 15 million from patent bras over the next 30 years.
Bras became more common and widely promoted during the 1910s, helped by a continuing trend toward lighter and shorter corsets that offered less support and detention. In 1917 at the start of US involvement in World War I, the US War Industry Council asked women to stop buying corsets to free metal for war production. It's said to have saved about 28,000 tonnes of metal, enough to build two warships.
It is said that the bra let go of most of its work because of World War I, which shook the gender role by putting many women to work in factories and uniforms for the first time. War also affects social attitudes toward women and helps to free them from bodice. But women have moved into the retail and administrative sectors. Thus the bra emerged from something that had been secretly tucked into the back pages of women's magazines in the 1890s, for a prominent display in department stores such as Sears, Roebuck, and Montgomery Ward in 1918. Advertising is now promoting the formation of breasts to the demands contemporary fashion, and sales reflect this.
The 1920s
When the corset became shorter during the later 1910s, this corset provided less support for the breasts. In 1920 the corset started at the waist, and bust containment yielded entirely to the bra. The lower line and the slopes become more fashionable. Brassieres from the late 1910s and early 1920s only slightly bandeau-shaped (bandeaux) style, holding the breasts in and down using a clip attached to the corset.
This culminated in the "boyish" silhouette of the Flamper era of the 1920s, with little definition of bust. The term (which in the mid-1910s refers to early teenage girls and adolescents) was adopted by advertising agency J. Walter Thompson in 1920 for their young adult customers. The androgynous figure then in the style of underestimating the natural curve of women through the use of bra bandeau, which flattens the breast. It's relatively easy for small-busted ladies to adjust to the flat look of the Flapper era. Women with larger breasts try products such as the popular Symington Side Lacer, when tied to the side, pulling and helping to flatten a woman's chest. However some of the early 1920's "bra" were little more than camisoles.
In 1922, Russian immigrant Ida Rosenthal became a tailor in a small shop in New York City, Enid Frocks. She and her husband William Rosenthal, along with shopkeeper Enid Bissett, change the look of women's fashion. They noticed that a woman's matching bras did not match other women of the same bra size. With $ 4,500 invested in their new business, they develop bras for all ages. Their innovations are designed to make their dress look better on the wearer by enhancing the formation of bra bandeau to enhance and support female breasts. They named the Maiden Form Company, a deliberate contrast with the name of a competitor, "Boyishform Company." Maiden Form directed Boyishform in 1924, accented and raised rather than leveling the statue. In 1927, William Rosenthal, president of the Maiden Form, filed a patent for nursing, full thinking, and the first stitching bra.
These stylistic changes coincide with health professionals who start connecting breast care and maternal and lactating comfort, and campaign against breast alignment. The emphasis shifts from minimizing the breasts to lift and accelerate them. Women, especially the younger ones, welcomed the bra as a modern outfit.
While manufacturing is becoming more organized, homemade bra and bandeaux are still quite popular, usually made of white cotton, but they are little more than breasts with some separation.
1930s
The word "bra" was gradually shortened to "bra" in the 1930s. According to a survey of 1934 by Harper's Bazaar, "bra" is the most common expression used for clothing among college women. The bra became more sophisticated, and the house-sewn version vanished in the 1930s. In October 1932, S.H. Camp and Company correlate the size and remoteness of female breasts to alphabet, ad A to D. Camp featured a letter-labeled breast profile in the February 1933 issue of Corset and Underwear Review . In 1937, Warner began displaying cup sizes in his product. Two other companies, Model and Fay-Miss, began offering A, B, C, and D cups in the late 1930s. Catalog companies continued to use Small, Medium and Large titles until the 1940s. The customized tape was introduced using multiple eyes and hook positions in the 1930s.
Like other women's products, consumer adoption is driven by successful advertising and marketing campaigns. Saleswomen play a key role, helping clients find the right garment, just as the role of women is changing in society. Much of this marketing is aimed at young women.
Bras quickly became a major industry during the 1930s, with improvements in fiber technology, fabrics, colors, patterns, and options, and performed much better than the retail industry in general. Innovations include the elastic use of Warner, customizable straps, cup sized, and padded bra for smaller breasted females. In US production moved out of New York and Chicago, and ads began exploiting Hollywood glamor and becoming more specialized. Department stores develop the right areas, and customers, stores and manufacturers all benefit. Manufacturers even set up a fitting training course for ladies sellers. International sales began to form an increasing share of the US bra-producer market. Prices are starting to make bra available for a wider market, and reduced homemade competition. Other major manufacturers in the 1930s included Triumph, Maidenform, Gossard, (Courtaulds), Spirella, Spencer, Twilfit, and Symington.
A culture that is culturally preferred among Western women during the 1930s is a pointy bust, which then increases the demand for clothing that forms.
The 1940s
The Second World War had a huge impact on clothing. In the United States, military women are registered for the first time at the lower level and equipped with uniform underwear. Willson Goggles, a Pennsylvania company that produces safety equipment for manual workers, is believed to have introduced "SAF-T-BRA" plastic, designed to protect women on the factory floor. The ads attract both patriotism and the concept that bras and girdles are "protection". Dress code appears - for example, Lockheed informs their workers that a bra should be worn because of "good taste, anatomical support, and passion".
Military terminology creeps into product marketing, as represented by a highly structured and conical bra Torpedo or Bullet, designed for "maximum projection". The bullet bra was worn by the Sweater Girl, a neighboring, healthy, neighboring girl who had a very tight body that accentuated an artificially enhanced curve. Underwire began to be used in bra construction. Actresses such as Jane Russell appear in the photos wearing a new bra that emphasizes the "lift and separate design", which then affects the design of the bra. For the film, The Outlaw, featuring actress Jane Russell, producer and aircraft designer Howard Hughes built a Cantilever bra for Russell in the film. Hughes made the bra fit and supported Jane Russell's breasts. Hughes created a bra on the basis of a bridge building. After seeing Jane Russell and her breasts in the film, the women tried to create a look on their own coffin.
The war presents a unique challenge for the industry. The occupation of women shifts dramatically, with more work outside the home and in industry. Lack of severe material is limited to design choices. Advertisements, promotions, and consumerism were limited but began to appear to be directed to minorities (eg, Ebony in 1945) and teenagers. Many manufacturers only survive by making tents and parachutes beside the bra. The American industry is now liberated from European influence, particularly France, and is becoming more distinctive. Again there were concerns about the much needed steel use in corsets and the British Government surveyed the use of women's underwear in 1941. This suggests that "on average, women have 1,2 bras (0.8 housewives and agricultural workers 1 , 9) ".
1950s
After the Second World War, material availability, production and marketing, and demand for larger consumer goods, including bra. The baby boom specifically created requests for pregnant and nursing bras, and television provided new promotional opportunities. Manufacturers respond with new fabrics, colors, patterns, styles, padding and elasticity. Hollywood's fashion and glamor influences women's clothing choices including bras like conical, spiral-stitched bra popularized by actresses such as Patti Page, Marilyn Monroe and Lana Turner, dubbed "Sweater Girls". The bullet bra allows women to add a cup size to their breasts.
Bra for pre-teens and girls entered puberty first marketed during the 1950s. Before the introduction of a training bra, young girls in Western countries typically wear one-piece "waist" or camisole without cups or arrows.
The 1960s
The 1960s reflects an increasing interest in quality and fashion. Maternity and mastectomy bra are beginning to discover new honors, and the increasing use of washing machines creates the need for more durable products. While the girdle gives way to pantyhose, the bra keeps growing. Such marketing campaigns for "Snoozable" and "Sweet Dreams" were promoted to wearing bra 24 hours a day.
In 1968 on Miss America's feminist protest, the protesters symbolically threw a number of feminine products into the "Trash of Freedom." This includes a bra, which is one item that protesters call "women's torture instruments" and accouterments of what they regard as enforced femininity. A local news in Atlantic City Press erroneously reported that "bras, belts, falsies, curlers, and copies of popular women's magazines were burned on 'Freedom Trash Can'". The people in attendance said that no one burned a bra or nothing to take off his bra. However, a female reporter (Lindsy Van Gelder) covering the protests drew an analogy between feminist protesters and Vietnam War protesters who burned their draft cards, and parallels between protesters burning their draft cards and the women who burned their bra were encouraged by several organizers including Robin Morgan. "The media took part bras," Carol Hanisch later said. "I often say that if they call us 'corset burners,' every woman in America will run to join us."
Feminism and "burning bra" become related in popular culture. The term analog "laundering-athletes" has since been created as a reference for masculism. While feminist women do not actually burn their bra, some stop wearing it in protest. Writers and feminist Bonnie J. Dow have suggested that the relationship between feminism and burning-bra is driven by individuals who oppose the feminist movement. "Bra-burning" creates a picture that women are not really looking for freedom from sexism, but are trying to declare themselves sexual beings. It can make people believe, as he wrote in his 2003 article "Feminism, Miss America, and Media Mythology," that women just try "trendy and attractive men." Women who are associated with such actions symbolically burning their bra may be seen by some as unlawful radicals, who want to surprise the public. This view may have supported opposing efforts against feminism and their desire to undo the movement. Some feminist activists believe that anti-feminists use myths that burn bra and are subjected not to underestimate what the protesters tried to achieve at the 1968 feminist protest of 1968 and the feminist movement in general.
Swimsuit and bra design
On June 4, 1962, a single-piece monokini swimsuit, Nobel's topless monokini received media attention worldwide. In his December 1962 edition, Sports Illustrated remarked, "He has turned the dancer's dancer into a liberating swimsuit, and in the process, he has torn off the boning and the wires that made American swimsuits skirt the bodice."
Gernreich followed him in October 1964 with "No Bra", soft-cup, light-weight, seamless, sheer nylon and elastic tricot bra with sizes 32 to 36, A and B cups, produced by Exquisite Form. Its minimalist bra is a revolutionary departure from a heavy torpedo-shaped bra of the 1950s, starting a trend toward a more natural and soft, thin fabric. He also designed an "All-in-None" design with a long front, plunged, and long-term "No-Back" version featuring a contoured stretch-waistband that allows a woman to wear a backless dress.
The Wonderbra was created in 1964 by Louise Poirier for Canadelle, a Canadian lingerie company. It has 54 design elements that uplift and support bustline while creating the effect of plunging in and pushing together. First year sales for Wonderbra are estimated at US $ 120 million. They reposition Wonderbra as a romantic, fashionable, and sexy brand.
The 1970s
The Germaine Greer The Female Kasim (1970) became associated with the anti-bras as it shows how tight and uncomfortable a bra is. "Bras is a ludicrous discovery," he writes, "but if you make a rule of bralessness, you simply submit yourself to another oppression."
In the 1970s, like other garment makers, bra manufacturers moved production abroad. The evolution of the bra reflects the constantly changing idea of ​​how an "ideal" woman should be - flat, round, pointed, conical, or even "natural". The contemporary bra also reflects the advances in the manufacture and availability of fabric types and colors, allowing it to be transformed from utilitarian goods into fashion statements, against the negative attitudes that some women have about bras. Designers have also incorporated many devices to produce various shapes, cleavage, and to provide women's bras that they can wear with open gowns, off shoulder dresses, fallen necklines, and the like.
The 1980s
Throughout the 1980s, fashion led the way in the look and feel of a bra. Western TV shows featuring a classy, ​​strong, and well-performing woman, usually wearing low-cut tops to show enhanced chests with a bra that are equally classy.
The start of Teddy's stylish and stylish outfit also covers this decade and silicon sales are increasing the need for bigger and more supportive bras.
Models and celebrities are all dressed in fashionable and fancy bra, showing this on the red carpet show to be the norm.
In contrast, the feminist Susan Brownmiller in his book Femininity (1984) takes the position that women without a shock bra and men are angry because men "implicitly think they have breasts and only those who have to remove a bra."
The 1990s
Marketing and ad manufacturers often appeal to fashion and image of conformity, convenience, and functionality. Since about 1994, manufacturers have refocused their advertising, shifting from an advertising functional bra that emphasizes support and foundation, selling fashion-focused lingerie while sacrificing basic functions and functions, such as a coat under an itchy lace.
With the growing popularity of jogging and other forms of exercise, it becomes clear that there is a need for athletic attire for women's breasts. In 1977, Lisa Lindahl, Polly Smith, and Hinda Mille invented the first sports bra at Royall Tyler Theater costume store at the University of Vermont. One of the original Jogbras is bronze and is displayed near the theater costume shop. The other two are kept by the Smithsonian and another by the New York Metropolitan Art Museum.
2000s
Two design challenges facing bra manufacturers today seem paradoxical. On the one hand, there is a demand for a minimal bra that allows plunging the neck and reduces interference with outer clothing lines, such as a bra rack. On the other hand, body mass and breast size increase, leading to higher demand for larger sizes. Over a 10-year period, the most common sizes purchased in the UK rose from 34B to 36C. In 2001, 27% of UK sales were D or greater.
The year 2000 brought two major design changes on the bra. Smooth and smooth bra cups, shaped everywhere. They heat formed around the round shape of synthetic fibers or foams that make their round shape. These constructions can include a plated bra, contour bra and so-called T-shirt bras. Also new and everywhere in the 2000s was the popularity of printed designs such as floral or patterned motifs.
Bras is a billion-dollar industry ($ 15 billion in the US in 2001, Ã, Â £ 1 billion in the UK.) That continues to grow. Big companies like HanesBrands Inc. controlling most manufacturing bras, Gossard, Berlei, and Courtaulds with 34% of the UK market. The secret of Victoria is an exception.
The feminist writer Iris Marion Young wrote in 2005 that the bra "serves as a barrier to touch" and that a woman without a bra is "deobjectified", removes the "hard, pointed out point that is considered the norm". Without a bra, in his view, a woman's breasts are not consistently shaped objects but change as women move, reflecting the natural body. Other feminist anti-bra arguments from Young in 2005 included that training bras were used to indoctrinate girls into thinking about their breasts as sexual objects and to highlight their sexuality. Young also wrote in 2007 that, in American culture, breasts are subject to "[c] apitalist, a culture dominated by patriarchal American media [which] predicts breasts before a frozen and mastered glance." Academician Wendy Burns-Ardolino wrote in 2007 that women's decision to wear a bra is mediated by "male outlook".
Modern production
Like other clothing, the bra was originally sewn by a small production company and supplied to various retailers. The term "cup" was not used to describe a bra until 1916, and producers rely on stretched cups to accommodate different breast sizes. Women with bigger or pendulous breasts have a choice of long line bra, rear spine, wedge-shaped inserts between cups, wider straps, Lastex strength, strong ribbon under the cup, and even light boning.
In October 1932, S.H. Camp and Company correlate the size and remoteness of female breasts to the alphabet letter: A, B, C and D. Camp ads featured a letter-labeled breast profile in the February 1933 edition of my Corset and Clothes I .
In 1937, Warner began displaying cup sizes in his product. The customized tape was introduced using multiple eyes and hook positions in the 1930s.
There is an urban legend that the bra was created by a man named Otto Titzling ("sling") who lost a lawsuit with Phillip de Bra ("contents bra"). This is from the 1971 book Bust-Up: The Enjoyable Tale of Otto Titzling and Bra Development and is distributed in a comedy song from the Beach film.
The future of bra
In 1964, Danish historian Rudolf Kristian Albert Broby-Johansen wrote that the topless display, which frees the breasts from a bra, should be taken seriously. He insists that it is a way for a new generation of women to express themselves. In 1969, he wrote an article entitled "Obituary for the Bra" in which he predicted an imminent bra death.
Brassies are worn by most women in Western society. Estimates of how much the proportion of Western women who wear a bra vary, but most surveys report from 75% to 95%. About 90% of Australian women wear bras in 2006. There are now unprecedented styles and models, including full-coverage bra, balconette cup bra that exposes aerotis and nipples, and sports bra that can sometimes be worn as an outfit. Women, health professionals, feminists, and fashion writers seem to be increasingly questioning their position and function, and asking if it will run in pantyhose, garter belts and stockings.
It is now common to see other models and celebrities not wearing a bra in public, including Britney Spears, Claire Danes, Lindsay Lohan, and Nadine Coyle Many outfits like sundresses, tank tops and formal evening outfits designed to wear without a bra. Fashion writers continue to suggest alternatives to a bra or a brassiere dress, stressing that wearing a bra is a matter of preference and not a necessity. Given the discomfort experienced by women with inappropriate bras, more women, once they are at home, move on to undershirts, jogbras, or none at all. The disgruntled bra owner has donated thousands of bras to Braball Sculpture, a collection of 18,085 bras. The organizer, Emily Duffy, wears 42B and switches to the underwear with a bra that is embedded inside because the standard bra cuts off the center of her body.
See also
- Bra
- Victorian clothing reform
- Wonderbra
- List of bra designs
- Western Fashion History
References
- Notes
Additional readings
- Cheree, Hoorah for Bra. Abrams 2006.
- Ewing, Elizabeth and Webber, Jean. Fashion in Underwear (Paperback) Batsford 1971 ISBNÃ, 0-7134-0857-X
- Greer, Germaine. Kasim Perempuan (1970). 2002 Farrar Straus Giroux ISBNÃ, 0-374-52762-8 Edition
- Farrell-Beck, Jane and Gau, Colleen. Uplift: Bra in America. Philadelphia: University of Pennsylvania Press, 2002 xvi, 243 pp. $ 35.00, ISBN 0-8122-3643-2. (for review, see next section)
- Steele, Valerie. The Corset: A Cultural History Paperback: 208 pages Yale University Press (February 8, 2003) ISBNÃ, 0-300-09953-3
- Summer, Leigh. Bound to Please: A History of the Victorian Corset . Berg Publishers (October 1, 2003) ISBNÃ, 1-85973-510-X
- Pedersen, Stephanie. Bra: A Thousand Years of Style, Support & amp; Flirt . Hardcover: 127 pages. David & amp; Charles Publishers (November 30, 2004). ISBNÃ, 0-7153-2067-X
- Warner LC. Always Starting Things . Warner Brothers, Bridgeport, Connecticut 1948
- The History of Underclothes Cecil Willett Cunnington, Phillis Emily Cunnington, Phillis Cunnington. Dover 1992
- Bra Stories: The Story of Rapture . Hollander, Anne. Slate March 20, 1997
- Ancient Indian Bra
- Interview with Teresa Riordan, Massachusetts Institute of Technology
- "Bra - The Age of Suspension". San Francisco Chronicle . October 28, 2007.
- "100 years old bra". Times of India . July 15, 2007.
- "Double Warning for bras". St. Petersburg Times . December 4, 2007.
- "Fashion, Strength, and Sexuality Gendered: The History of Women's Lingerie"
- United States Patent 7234996 (2005)
- Women's Clothing and Clothing in Ancient Greek Art
Journal article
- SK Freeman. In Style: Femininity and Fashion since the Victorian Era. Women's History Journal ; 2004; 16 (4): 191-206
Documentary
- "Secret History of Bra". National Geographic . 2007 at Wayback Machine (archived August 19, 2009)
Video
- Cheree Berry: Hoorah for bra
- Vogue TV Trend Watch: 100th Anniversary Bra at Archive.is (archived December 3, 2012)
External links
- Media related to History_of_brassieres in Wikimedia Commons
- : Bra History at Wayback Machine (archived January 30, 2012)
Source of the article : Wikipedia
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