Jay Thorpe lounging robe, c.1942

  • By The Museum at FIT
  • In Objects
  • On 16 Sep | '2014
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Detail, Jay Thorpe lounging robe / Printed rayon, c.1942, USA | Photo: Eileen Costa copyright MFIT

Detail, Jay Thorpe lounging robe / Printed rayon, c.1942, USA | Photo: Eileen Costa © MFIT

Jay Thorpe lounging robe / Printed rayon, c.1942, USA | Photo: Eileen Costa copyright MFIT

Jay Thorpe lounging robe / Printed rayon, c.1942, USA | Photo: Eileen Costa © MFIT

Rayon was marketed as “artificial silk” upon its introduction early in the twentieth century. As a less costly alternative to silk, it was frequently used for inexpensive fashions in the 1920s. Rayon’s appeal broadened during the following decade, when high-end designers such as Elsa Schiaparelli began to recognize its potential.1 Because rayon has a supple drape and is comfortable on the skin, it also became a popular fabric for lingerie.

Rayon was essential when silk and cotton became scarce during World War II.2 This rayon lounging robe, from about 1942, was sold at the upmarket New York clothing store Jay Thorpe. Some lingerie manufacturers from this time decreed that robes were “necessary” to women’s wardrobes, as they could be worn for nighttime air raids.3 While this robe is simply designed, details such as the beautifully scalloped, hand-finished sleeves are subtly luxurious.

1. Dilys E. Blum, Shocking! The Art and Fashion of Elsa Schiaparelli (Philadelphia: Philadelphia Museum of Art, 2003), 34.

2. Farid Chenoune, Hidden Underneath: A History of Lingerie (New York: Assouline, 2005), 84.

3. Jill Fields, An Intimate Affair: Women, Lingerie and Sexuality (Berkeley: University of California Press, 2007), 256.

Cadolle corselet, c.1933

  • By The Museum at FIT
  • In Objects
  • On 9 Sep | '2014
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Cadolle corselet / Satin, lace, elastic, c.1933, France | Photo: Eileen Costa copyright MFIT

Cadolle corselet / Satin, lace, elastic, c.1933, France | Photo: Eileen Costa © MFIT

Clothing of the 1930s required a slender yet womanly silhouette. Many women relied on all-in-one girdles, also called corselets, which supported the breasts, cinched the waist, and smoothed the hips. This example, made by the French luxury lingerie brand Cadolle, features an attached lace skirt that acts as a slip. These streamlined, one-piece garments were especially recommended for wear under evening dresses.1

Slinky 1930s evening gowns necessitated a variety of specialized undergarments: some corselet styles were nearly backless, for example, and strapless bras – a style pioneered by Cadolle – were introduced for wear beneath new halter-neck and strapless dress styles.2

Renewed emphasis on the bust is underscored by this corselet’s softly molded bra cups, which subtly enhance the natural breasts. While a shapely figure was again fashionable, however, women were advised to steer clear of undergarments that created an hourglass silhouette.3

1. Corsets and Brassieres (January 1933): 34.

2. Ibid.

3. “The Paris Influence,” Corsets and Brassieres (October 1934): 26.

Interview – Sarah Cohen, designer, Suki Cohen

  • By The Museum at FIT
  • In Objects
  • On 4 Sep | '2014
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This week we bring you notes from Sarah Cohen, designer of lingerie label Suki Cohen. We caught up with the designer via e-mail, asking her about Suki and her design process. Exposed curator Colleen Hill wrote that “Cohen eschews delicate materials and pastels for black stretch fabrics, and highlights the body using cutouts.” Find out more on Suki Cohen’s website. If you haven’t been to MFIT to see Exposed yet, this Suki Cohen ensemble is on view right now.

Suki Cohen (Sarah Cohen) Bodysuit and bolero jacket / Stretch nylon and neoprene, 2014, Colombia | Photo by Eileen Costa copyright MFIT

Suki Cohen (Sarah Cohen) Bodysuit and bolero jacket / Stretch nylon and neoprene, 2014, Colombia | Photo by Eileen Costa © MFIT

– What is the story behind Suki Cohen?

SC: I just love to design, to be around fabrics to create, so Suki is just the door to my dreams…

– What has been inspiring you lately, and how does that inspiration translate into your designs?

SC: I’ve always thought about a futuristic girl, a Valquiria. I think tough women are sexy. The pieces are so comfortable–I think that’s the future talking about lingerie.

Suki Cohen (Sarah Cohen) Bodysuit and bolero jacket / Stretch nylon and neoprene, 2014, Colombia | Photo by Eileen Costa copyright MFIT

Suki Cohen (Sarah Cohen) Bodysuit and bolero jacket / Stretch nylon and neoprene, 2014, Colombia | Photo by Eileen Costa © MFIT

Suki Cohen (Sarah Cohen) Bodysuit and bolero jacket / Stretch nylon and neoprene, 2014, Colombia | Photo by Eileen Costa copyright MFIT

Suki Cohen (Sarah Cohen) Bodysuit and bolero jacket / Stretch nylon and neoprene, 2014, Colombia | Photo by Eileen Costa © MFIT

– Can you speak about the textiles you use? Are there any materials you would like to experiment with in the future?

SC: I just love textiles… I think they are infinite but also they become your worst nightmare or challenge in production.

– How does your native Colombia influence your design?

SC: I love sexy girls!!

– Can you explain how you partner with women in Colombia and why it has been a cornerstone of Suki Cohen?

SC: Making and improving everyday. All Suki’s team take their work very seriously (also I think we love what we do). We try to make Suki KARMA FREE.

You can follow Suki Cohen on the label’s Facebook page. 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

Paquin slip, c.1930

  • By The Museum at FIT
  • In Objects
  • On 2 Sep | '2014
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Paquin slip / silk chiffon, alençon lace, c.1930, France | Photo: Eileen Costa copyright MFIT

Paquin slip / silk chiffon, alençon lace, c.1930, France | Photo: Eileen Costa © MFIT

Detail, Paquin slip / silk chiffon, alençon lace, c.1930, France | Photo: Eileen Costa copyright MFIT

Detail, Paquin slip / silk chiffon, alençon lace, c.1930, France | Photo: Eileen Costa © MFIT

“Modern lingerie is designed with one idea in mind – that is to be worn under clinging frocks that are intended to make the wearer look slim. Therefore, lingerie must be in the finest and sheerest of fabrics, comfortable in cut and designed to allow easy, swinging movements,” explained Vogue in 1927. “All of this sounds difficult, but it has been accomplished charmingly by the French couturiers.”1

Indeed, many couturiers made specialized lingerie to be worn beneath their clothing designs. This is Paquin’s version of the modern slip, a garment that was devised from the “princess” style of earlier decades. The new slips were made with slim skirts and diaphanous, neutral-colored fabrics, allowing them to be as inconspicuous as possible. The donor of this slip, Mrs. William Randolph Hearst, owned another version in off-white.

1. “Paris Lingerie Echoes the Frock,” Vogue (November 15, 1927): 70.

Saks Fifth Avenue cami-knickers, c.1924

  • By The Museum at FIT
  • In Objects
  • On 26 Aug | '2014
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Saks Fifth Avenue cami-knickers / crepe chiffon, silk satin, c.1924, France | Photo: Eileen Costa copyright MFIT

Saks Fifth Avenue cami-knickers / crepe chiffon, silk satin, c.1924, France | Photo: Eileen Costa © MFIT

Cami-knickers evolved from the “combinations” of the early twentieth century. Beginning in the late 1910s, these garments were made from light, delicate fabrics that facilitated a lean silhouette. By the 1920s, wide, knee-length drawers had narrowed and shortened, resulting in a sleek new style that could be worn under the tubular dresses of the era.

These cami-knickers, dating to the mid-1920s, were made in France for Saks Fifth Avenue. While embellishments on camiknickers varied, the understated, rectangular appliqués on this example are especially modern. In 1922, the important American trade magazine Corsets and Lingerie noted that “French lingerie still remains simple in design, but is unusually artistic.”1

1.“Notes from the Lingerie Trade,” Corsets and Lingerie (April 1922): 49.

Nightgown, c.1907

  • By The Museum at FIT
  • In Objects
  • On 19 Aug | '2014
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Nightgown / Cotton, bobbin lace, silk ribbon, 1907, USA | Photo: Eileen Costa copyright MFIT

Nightgown / Cotton, bobbin lace, silk ribbon, 1907, USA | Photo: Eileen Costa © MFIT

This delicate nightgown was made by a young bride’s mother for a trousseau. While many early twentieth-century nightgowns were beautifully designed, this example is particularly alluring. Its sleeves are fashioned from bands of lace, loosely held together by satin bows, and another bow draws attention to the gown’s low-cut back. The handmade lace and fine, gauzy cotton further underscore the nightgown’s seductive qualities.

A bridal trousseau consisted of many items – from house wares and linens to outerwear – but lingerie was an especially crucial component. If a bride made her selections well, she would not need to purchase new underclothes for several years.1 By the early twentieth century, a trousseau could include both handmade and ready-made garments.2

During the nineteenth century, trousseaux were often put on view for female family members and friends. An extensive trousseau indicated a family’s wealth and status. Such exhibitions were less common by the following century, and trousseaux disappeared almost entirely after World War II.3

1. L. B. Walford, “The Lace Camisole,” Century Illustrated Magazine (December 1900): 178.

2. Ibid.

3. Muriel Barbier and Shazia Boucher, The Story of Women’s Underwear (New York: Parkstone International, 2010), 94.

Interview – Larissa King, senior designer, Hanky Panky

  • By The Museum at FIT
  • In Interview
  • On 14 Aug | '2014
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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 copyright MFIT

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 | copyright Eileen Costa

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

Warner Bros. corset, c.1889

  • By The Museum at FIT
  • In Objects
  • On 12 Aug | '2014
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Love this lingerie? You can share it on social media with the links below! Find more in the accompanying book.

Warner Bros. corset / Silk, satin, coraline, c.1889, USA | Photo by Eileen Costa copyright MFIT

Warner Bros. corset / Silk, satin, coraline, c.1889, USA | Photo by Eileen Costa © MFIT

“The last remains of feminine modesty sunk out of sight, drowned by the prevalent mania for elaborate underclothing,”1 wrote the journalist Octave Uzanne in his book Fashions in Paris (1898). Surely the acceptance of colorful corsets helped to fuel Uzanne’s statement, as such foundation undergarments had formerly been associated with actresses and courtesans.

In order to create the exaggeratedly feminine, curvaceous silhouette that dominated the second half of the nineteenth century, corsets were rigidly shaped with whalebone or steel. Warner Bros., the manufacturer of this corset, specialized in using Coraline, a plant-based stiffening material. Coraline was touted as a more flexible and less “torturous” alternative to other corset shapers—meaning that this seductive, raspberry silk example was likely marketed as a “healthy” corset.2

1. Octave Uzanne, Fashions in Paris (London: William Heinemann, 1898), 163.

2. Warner Bros., Coraline Corsets (Bridgeport, Conn.: Warner Bros., 187[?]), Internet Archive, accessed March 24, 2014.

Corset & Bustle, circa 1880

  • By The Museum at FIT
  • In Objects
  • On 7 Aug | '2014
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Each week we’ll be posting select objects from Exposed, along with their catalogue entries in the accompanying book. Love this lingerie? You can share it on social media with the links below!

Corset / wool, silk, steel, whalebone, c.1880, possibly France | Bustle / printed cotton, steel, c.1880, USA | Photo: Eileen Costa copyright MFIT

Corset / wool, silk, steel, whalebone, c.1880, possibly France | Bustle / printed cotton, steel, c.1880, USA | Photo: Eileen Costa © MFIT

The bustle appeared late in the 1860s.1 It took many forms over the next twenty years, but all bustles were designed to emphasize the posterior. They created a marked contrast to slim, corseted waists covered in tightly fitted bodices.2 Skirts that were heavily gathered, pleated, and embellished in back further enhanced the bustle silhouette.

Some smaller versions of the bustle were made from wire mesh, short hoops, or cushions that were fastened to the body with a buckled waist tape. The more extreme bustle styles, such as those of the early 1880s, were often more elaborately structured. This example – a hybrid of a bustle and a petticoat – was sometimes referred to as a “crinolette.” Although the crinolette maintained the desired skirt shape, it proved somewhat difficult to wear. One magazine from the period despaired that it was prone to wobbling when the wearer walked, and recommended that women instead have their skirts made with built-in, horsehair bustles.3

1. Casey Finch, “Hooked and Buttoned Together: Victorian Underwear and Representations of the Female Body,” Victorian Studies 34 (Spring 1991): 346.

2. “Ladies’ Department: Fashion Chat,” Saturday Evening Post (September 9, 1882): 16.

3. Ibid.

Interview: Colleen Hill, curator

  • By The Museum at FIT
  • In Interview
  • On 28 Jul | '2014
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Installation, Exposed: A History of Lingerie, 2014 | copyright Eileen Costa

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

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

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

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, France. Right: Cadolle Kyo nightgown, silk, 2008, France. Both gift of Cadolle Paris | copyright Eileen Costa

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