Women in “1900”

      At the dawn of the 20th century women were known as “femmes-sirènes” (“mermaids”), and under their dresses they wore a surcoat first, which became popular at the end of the 19th century. This surcoat was modified in 1900 to shape the waist. Around 1908, the over-corset could be worn with bloomers or a petticoat to make either a bloomer set or full-length petticoat.

      Underneath there was a long corset with reinforcements to accentuate the curve of the body. It was so tight that it was difficult for women to bend over. Besides the corset’s suspenders, there were extra garters worn below the knee. Under the corset there was a long, full chemise which was pulled tight to support the bust. Although bras were exhibited at the Universal exhibition of 1900, they were only effective when worn with a corset, and they were not yet widely-used.

      The excess material of the chemise floated around in the bloomers, which in turn were knee-length: they were laced at the waist and split at the crotch. This split was smaller in the ruling classes but remained completely open when worn in the provinces, by the working class or by prostitutes, as mentioned by Emile Zola in L’Assommoir, when describing the fight between Gervaise and Virginie: “With renewed vigour, she grabbed Virginie by the waist, bent her over and pushed her face into the cobbles with her rear in the air; and despite their continual movement, managed to lift up her skirts substantially. Underneath she wore bloomers. She reached in through the gap, tore them apart and displayed everything – naked thighs and naked buttocks[18]“.

      In the 1880s, the system worn on the lower back to give volume behind the dress was, at first, a demi-crinoline known as a “fish tail”. It later became a long canvas bag held out by hoops. Eventually this was reduced to a small pouch of horse-hair at the small of the back and still later a mere pile of stiffened folds of fabric. After 1890 the bell-shaped skirt only required a small padded cushion at the small of the back which was sewn into the dress lining to enhance the curve of the body.

      After 1890 the skirt was supported by petticoats, but there were more and more of them: highly flounced petticoats puffed out the back, and the woman’s form was tightly encased by narrow skirts.

      By the Art Nouveau period, women were tightly bound by their costume and by their numerous undergarments.

      Weber, Dressing. Print, “mœurs”. Musée Carnavalet, Paris.

      Corset concealer in mesh and lace. Musée d’Art et d’Histoire de Troyes.

      Sport or summer corset, blue with red border. Musée Galliera, Paris. Inv. 1920.1.968, and underskirt with bustle (also called “crayfish tail”), 1875–80, stitched white cotton. Musée Galliera, Paris. Inv. 2003.73.X.

      Yva Richard, Bouclette and her corset, c. 1925. Silver print, 17.6 × 13 cm. Private collection, Paris.

      It has often been said that women of the 1920s benefited from a new freedom, but this was only in appearance. It is true that under the “flapper’s” short dress there was no corset-cover, but there was still a short corset to pull in the waist. It was worn low on the hips, and it held in the top of the thighs. Some women wore a “garter-belt”, even next to the skin. In addition, the bust was diminished with correctors or flatteners which usually came from the United States. The so-called “stylish” dresses were tubular, flared over the hips and needed to be supported by circular boning inspired by that of 18th century panniers.

      Under their corsets women wore a new type of combination underwear composed of a bra joined to a narrow petticoat or to short bloomers, which could be split or not.

      Eventually, as dresses grew shorter, black, white and flesh-coloured silk stockings became popular, sometimes embroidered with patterns. If a woman felt the cold, she could wear woollen flesh-coloured stockings under the silk ones, but this widened the leg and so was quickly abandoned.

      Now let us have a look at the “flapper’s” night attire. In the evening their outfit became more masculine with pajamas becoming popular after the First World War. In fact, pajamas were actually first worn as at-home outfits, as described in Vogue in 1924: “Pajamas are now by far the smartest form of negligee.[19]“ The new use fitted in with the current taste for Eastern-influenced fashion. Nevertheless, the nightdress was not abandoned, it just became narrower.

      If we look for the liberation of women’s clothing in the period between the wars, it is to be found in skirt lengths and the way that legs were consequently revealed.

      Elegant women of the 1950s wore waspies to pull in their waists under their Jacques Fath suits or their Christian Dior designer cocktail dresses. Attached to the former was a boned half-cup bra: this was the most popular combination for evening wear. A woman could also choose a bra, a garment which was becoming more widely available. A model with or without straps could be chosen, depending on the occasion.

      The chemise had disappeared. In its place, a slip with straps was worn over the pieces of corsetry, and the corsetry was worn right next to the skin.

      The waspie was worn with a long, full petticoat in nylon fibre which fluffed out the New Look skirts. Under this petticoat the bloomers gave way to form-fitting briefs.

      In this way woman’s underwear finally arrived at a point where it was completely closed, and in sets composed of girdle, bra, briefs and petticoat, which were sometimes matching. Under the petticoat, nylon stockings were worn, held up by garters.

      Once she divested herself of her daytime underwear, the New Look fashion plate preferred nightdresses. They could be very long or knee-length. As for pajamas, they were less in vogue.

      After the Second World War and during the 1950s, the number of undergarments was reduced and the dichotomy between lingerie and corsetry began to ease off.

      “Miss Swinging Sixties” was lightly clad: she wore a great deal less underwear than her mother did, but her body was completely enveloped. Under her A-line dress, young women (this new fashion was aimed at the young: the older generation kept their girdles) wore matching bras and panties, the latter flattening the belly. On certain models, garters were fixed inside the panties.

      Other women chose briefs and bras worn with panty-hose.

      Underwear was becoming a second skin. This was the idea behind panty-hose or the all-in-one Dim body, for example. In 1958, Mitoufle was the first brand of panty-hose in France, and it was only in 1962 that Dimanche (it became Dim in 1965) invented seamless stockings and, due to the prices they charged, panty-hose became accessible to all.

      The 1960s saw the start of the bra and brief combinations that are still worn today and which, despite the limited number of garments, enclose the female body… until the G-string made its appearance in the 1980s.

      Combination, 1955–1960. Musée Galliera, Paris.

      Blue silk pyjamas, silver back, black outline. Silver lamé trousers. Taken from Le Goût du Jour catalogue, 1920.

      Excerpt from the Yva Richard catalogue, c. 1920. Stenciled watercolour, 22 × 16 cm. Private collection, Paris.

      “Tamara”, bandeau bra and stocking belt. Wolford, Spring/Summer 2004.

      Chantal Thomass, Catwalk 2004.

      Materials

      The materials used in the manufacture of women’s underwear

---

Скачать книгу