This week we bring you an interview with Larissa King, senior designer at Hanky Panky. In addition to designing lingerie for Hanky Panky (since 2003), Larissa enjoys design, cooking, vintage lingerie, 60s soul, and fashion history. You can also find her penning blog posts on Hanky Panky’s blog – Life, Love & Lace. If you haven’t been to MFIT to see Exposed yet, this L.A.M.B. x Hanky Panky “Lambie Camo” ensemble is on view right now.

L.A.M.B x Hanky Panky / Lambie Camo Retro Cropped Cami and Lambie Camo Retro Thong Stretch lace, Fall 2014, USA | Photo by Eileen Costa © MFIT

– What has been inspiring you lately?

LK: I’ve been feeling very inspired by both activewear and dancewear. Like lingerie, they have to fit and move with the body in a very intimate way.

– How does that inspiration translate into your designs for Hanky Panky?

LK: I love mixing soft, feminine fabrics like laces and meshes with sportier silhouettes and finishes. And the color combinations used in these types of garments can also be very inspiring.

– Hanky Panky has an incredible following. Are there any historical facts about the brand that fans may not know?

LK: Oh, where to begin? Many of our fans are surprised to learn how long Hanky Panky has been in business—since 1977, and that we’ve been manufacturing in NYC since then.

I just love the story of how the company started—Gale Epstein (our Creative Director) made Lida Orzeck (our CEO) a bralette and panty set made from embroidered hankies as a 30th birthday present. Lida loved the set so much that they decided to start selling them. So Gale made a set of samples and Lida brought them in a suitcase to all the big NYC department store buyers (which you could do back then). The orders came in, and Hanky Panky broke even its first year.

Many people are also surprised to learn that our signature stretch lace v-front, v-back thongs were introduced way back in 1986, and that all the laces used in our Signature Lace collection are knitted exclusively for Hanky Panky.

Installation, Exposed: A History of Lingerie, 2014 | © Eileen Costa

– In Exposed: A History of Lingerie, lingerie is divided into two types: hard and soft. Can you talk about why the idea of soft lingerie is so important to the Hanky Panky brand?

LK: Comfort is one of our core brand values. As a woman-owned and woman-designed brand, we feel very strongly that intimates should feel as good as they look. We have very high standards when it comes to fit and softness of materials.

Our customer comes to us for lingerie that she can put on and then go all day without thinking about. Anything that pokes, pinches, or is too constricting is just not Hanky Panky. We do extensive wear-testing and won’t introduce a new product unless we’re 100% happy with the fit and comfort on a variety of women. Our recently-launched Hanky Panky BARE raw-edge microfiber collection took us two years, 3 weights of fabric, and countless failed prototypes before we had styles we felt were worthy of the Hanky Panky name.

– Hanky Panky has a lingerie set in Exposed from the upcoming collaboration with Gwen Stefani’s fashion line L.A.M.B. As a lingerie designer, what are your dream collaborations (with anyone, living or dead)?

LK: What a hard question! Our collaborations seem to work best with houses/designers that are famous for prints, so I would probably say Celia Birtwell, Zhandra Rhodes, Marimekko, or Liberty of London.

I also bet Claire McCardell would have had a lot of innovative ideas for intimates—I love how she managed to do such creative things within a ready-to-wear framework.

You can find Larissa on Twitter (@HankyPankyLa), and follow Hanky Panky @HankyPankyLtd. Keep following the blog for more lingerie history! We’ll be posting photos, interviews, and excerpts from the book Exposed: A History of Lingerie. Visit the show at MFIT today and share your thoughts on social media with #lingeriehistory

–MM

SHARE   

Installation, Exposed: A History of Lingerie, 2014 | Photo: Eileen Costa © MFIT

To celebrate the launch of our blog for Exposed: A History of Lingerie, we bring you an interview with Colleen Hill, associate curator of accessories at The Museum at FIT. In addition to organizing Exposed and authoring the book accompanying the show, Colleen has co-curated several MFIT exhibitions, including Shoe Obsession, Eco-Fashion: Going Green, and Fashion A-Z: Part One and Part Two. Exposed is on view from now until November 15, 2014 so be sure to visit the museum and check out the online exhibition.

– What drew you to the topic of lingerie? Can you talk about your process in putting together the exhibition? With such a broad topic, where does one begin?

CH: I’ve always loved lingerie. As a teenager, I incorporated vintage slips and bed jackets into my wardrobe. My interest in the MFIT lingerie collection began in 2007, when I was organizing an exhibition entitled Seduction. Although I only included a small selection of lingerie in that show, I got a sense of how many important lingerie garments were in the Museum’s permanent collection. More recently, MFIT received several donations of especially beautiful lingerie, such as a 1940s couture nightgown by Juel Park, and a gorgeous bandeau bra from the 1920s.

Since the Museum has such a vast collection of lingerie, I began by selecting some of the most visually striking and intricately crafted pieces. At the same time, I started to conduct preliminary research to determine which garments were most historically important. Finally, I researched each object individually, focusing on primary sources such as magazines, catalogs, and advertisements. These sources also helped our team to determine how many of the garments would have looked on the body, so that our mannequins could be dressed as accurately as possible.

Juel Park nightgown, silk crepe chiffon, circa 1945, USA, 2009.66.11, gift of Christina Orr-Cahall in honor of Anona Boben | Photo: Eileen Costa © MFIT

Detail, Juel Park nightgown, silk crepe chiffon, circa 1945, USA, 2009.66.11, gift of Christina Orr-Cahall in honor of Anona Boben | Photo: Eileen Costa © MFIT

– As you worked on the exhibition, did any facts about lingerie’s history surprise you?

CH: One of my favorite research discoveries was a sheer bra, called the “Illusion,” that was designed in 1949. In many ways, it was similar to Rudi Genreich’s “no bra” bra of the 1960s. I discovered the earlier example in a trade magazine entitled Corsets and Underwear Review. At some point, a reader had circled the photograph of the Illusion bra and written “disgusting” next to it. It was fascinating to see such a reaction! It’s likely that some people thought Gernreich’s sheer bras to be distasteful too, of course—but his underwear did sell very well, and it’s essential to lingerie history. There are still styles similar to the “no bra” sold today.

Rudi Gernreich for Exquisite Form, “No-Bra” and half-slip, sheer white nylon, pink and white printed nylon, circa 1965, USA, gifts of Mitch Rein | Photo: Eileen Costa © MFIT

– Are there any lingerie stories that couldn’t be conveyed in the small space of a gallery label?

CH: Oh yes, many! The history of lingerie is especially complex, so condensing my research into short, informative labels was a challenge. I wish I could have delved more into the topic of lingerie and feminism during the 1960s and 1970s, for example, or changing ideas of women’s sexuality and its relation to lingerie during the early 20th century.

– Can you tell us about the objects that were brought into MFIT’s collection exclusively for Exposed?

CH: I acquired contemporary lingerie from six different makers. What I find especially important to today’s lingerie market is the range of options available to women, which I tried to represent with my selections. A set by Chantal Thomass has an overtly seductive, retro styling, complete with suspenders. A bodysuit by Suki Cohen can be worn as shapewear, but its architectural cutouts are decidedly edgy and fashionable. A set by Hanky Panky underscores that lingerie need not be uncomfortable or prohibitively expensive to be stylish.

– Do you have a favorite object in the exhibition?

CH: It’s difficult to pick a favorite, but one stand out piece is an early 1930s corselet by Cadolle. A corselet is basically an “all-in-one” garment. This example smooths the waist and hips using flexible strips of boning, and also features a soft-cup bra and an attached slip. Its construction is superb—and a few visitors have told me they wish they could wear something similar as a cocktail dress! One can imagine how this corselet would have been the perfect undergarment to be worn beneath the slinky, bias-cut gowns of the 1930s.

Left: Cadolle Malia corset, chantilly lace, cotton, Spring 2007. Right: Cadolle Kyo nightgown, silk, 2008, France. Both gift of Cadolle Paris | Photo: Eileen Costa © MFIT

– Based on your research for Exposed, what do you imagine the future of lingerie to be?

CH: Many women told me they wished it were easier to find unpadded, unstructured bras—particularly in smaller cup sizes. Padded and push-up bras have been popular for about 20 years, and I think women are finally looking for something different and more natural. There’s also an expanding market for mid-priced styles that can be worn as “everyday” underwear, but that are well-made and use high quality materials. At the moment, the lingerie market is dominated by large chain stores on one end of the spectrum, and high-end, specialized lingerie on the other.

Keep following the blog for more lingerie history! We’ll be posting photos, interviews, and excerpts from the book Exposed: A History of Lingerie. Visit the show at MFIT today and share your thoughts on social media with #lingeriehistory

–MM

SHARE