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Hermed lidt inspiration:

Lingerie is directly and very strongly related to a woman’s intimacy. For centuries, men have always believed that lingeire was created with the aim of seducing them. This desire to seduce undeniable exists. However, in choosing to ware pretty and seductive underwear, women behave and carry themselves in a slightly egoistic and indeed naricssistic way. Furthermore, lingerie can help a woman feel good about her body, helping her thus to like and accept it, and in doing this, afirming a real sense of self-confidence. The reason behind it is simple. Surprisingly, although no-one can see our underwear, it contributes effektively in enhancing our silhouette and sometimes even shaping it to our personal preferences.

All too often, lingerie has been treated as an object of seduction. Men themselves have created this phenomenon: to see a woman uniquely dressed in underwear is infinitely more sensual and sexial than seeing a woman entirely naked. One could associate lingerie with high heels for the latter effect, the way in which a woman walks, making her more seductive, charming and provocative.

Associated with stockings, high heels have a power, an obvious fetishist virtue, for both men and women. The perception and jedgement of the female body has gone through changes over the years, if one compares for example, our time, the beginning of the 21st century, to the years between 1960 and 1970.

In the 1960s, when a woman married, and moreover when she became a mother, her body could no longer be considered seductive. Today, this outlook is completely old-fashioned and obsolete. Women feel the need to be attractive, whatever their age, wheether it be prior to marriage or after, and even int the years later.

As proof, a grandmother today can still be a beautiful woman and feel it by dressing herself in some appealing underwear, which enables her to make her body more beautiful. This evolution (or revolution) of morals concerning lingerie is directly related to the innovations and technical contigencies in the creation of underwear, and the subjection to historical events. The history of lingerie deserves to be put in the spotlight. Lingerie, in contrast with the world of fashion, is a state of mind. Onc can love lingerie and envy looking after one’s body whether one is 15 or 75! The world of prêt-à-porter is a completely different universe from that of the world of underwear.

Clothes always target a particular age group: the fasion of a teenage 15 year-old is different from that of a 30 year-old woman.

This is why lingerie is more a question of mentality and of human nature. A plump woman can feel good in her body, accept who she is and have a desire to emphasize that beauty by wearing gorgeous underwear. Lingerie should respond to alle these aspirations and suit every kind of woman. A designer’s work should be orientated towards this fulfilment.

To create lingerie that satisfies different women’s styles, one should observe those women who surround you: daughters, assistants, even women in the street! Poses, which one notices in films, can also help to inspire. Besides those who surround, who play an improtant role in suggesting new desings, the material is also a source of inspiration.

The fabrics are essential. Lingerie is the type of clothing worn closest to the female body and is in contact with its intimacy, the fabrics and lace have to be agreeable, but not axclusively. Today, lingerie has to be comfortable and practical. If is was 30 years ago, French women (in contrast with American women, for example) accepted and did not balk at wearing and handwashing a piece of delicate lingerie, with lace, which even needed ironing at times. Today, that is no longer acceptable.

Lingerie should be machine-washable, with no need for ironing, and should incorporate all the essential elements of comfort, with the beauty of the creations. The evolution of different textiles used in the creation and the making of underwear remains an unforgettable aspect. Besides the materials, the colour of lingegie plays an important role too.
Black and white are always extremely flattering coulours for the skin. Black (more particularly) allows the softening of bodily flaws that we all have. Hot colours (pink, red, rasberry) are also enhancing coulours. On the other hand, cold colours used for lingerie are always more difficult to work with. Greens and blues are magnigicent, but all too often evoke swimming costumes.

Lingerie should be associated with women’s pleasure. The element of seduction remains, especialy with certain pieces of underwear, which are not trivial. Certain pieces are fascination and provoke an inevitable attraction. Stockings and suspenders make a woman ectremely enticing, indeed entrancing. Strapless bras, girdles and brea can be worn under a transparent blouse.

This could produce a mystrious and clashing effect and can be fascinating to the eyes of others and overtly flattering for the woman who dress in this way. There are two kinds of lingerie en my opinion. On the one hand, a woman has the underwear that she desires to show (girdles, suspenders and stockings), and on the other hand the kind of underwear that one wears uniquely for oneself. The latter cetegory should be pleasant for the eye, byt also extremely comfortable. Concerning tights, for example, I believe it is very important to make tights which are charming and delicious, so that one could wear them every day and be able, despite everyghing else, to conserve a seductive power, when one undresses in the presence of a man.

Lingerie is all about being oneself and about one’s attitude. Three terms can be associated with lingerie today: refinement, seduction and comfort. It is necessary to put together these three notions in order to create underwear, excluding vularity along the way. To avoid this pitfall, one has to contribute humour and putity.

The world of lingerie affects everyone. It affects women who wear lingerie, as well as the men who have always believed that they wear it to seduce them. Lingerie deserves to have a greater place in history, as well as in eberyday life. Intimate apparel comes in many guises. It can be hidden or exposed, simple or sophisticated, discrete or provocative.

The vast array is traditionally divided into three groups: lingerie, corsetry, and hosiery. nderwear serves a mainly hygienic function. Positioned between the body and its clothing, underwear shields the body from graments made of less comfortable textiles and protects the clothing from body fluids, which is why iach epoch produces underwear in various healthful fabrics.

Women’s underwear is therefore closely associated with intimacy and feminine hygiene: the first articles of lingerie in contact with the female body were worn in the context of menstruation and evolved into the contemporary sanitary napkin. the word underwear is synonymous with lingerie, the term used to refer to specific undergarments such as petticoats and samisoles, an later bloomers, leggings, underpants, undershirts, and full-length slips.

Besides of cotton other more or less delicate fabrics came to be used for makibg lingerie: linen, silk, and synthetic fabrics in relatively light weaves such as plain and satin weave, jersey, lawn, muslin, percale and voile. These fabrics are sometimes found trimmed with decorative and frequently seductive details. For lingerie is not limited to a protective function – it is also a sophisticated costume accessory.

Glossary

Baby doll:

A very short nightgown introduced in the 1950’s made of sheer fabrics, usually nylon but sometimes silk or cotton.

Batiste:

Batiste (also called handkerchief linen). A fine fabric of sheer bleached linen.

Bikini:

A style of underpants.

Bloomers:

Long pants that fall to the ankle, or stop at the calf or thigh. Bloomers come in linen or cotton; later more refined versions ar made of silk and decorated with embroidery, lace, and ribbon.

Body Stocking:

Borrowed from the leotards worn by dancers and female athletes, the body stocking is a close-fitting article of clothing that encases the torso. It is designed to button at the crotch for ease of use. A body stocking may have long or short sleeves and is made of cotton, lace, or synthetic fabrics. It can be worn as an under or outer garment.
Brassiere:

Underwear designed to support and enhance the breasts with or without underwiring. Simultaneously items of lingerie and corsetry, brassières were not commonly worn before the 1920s. Several individuals introduced models of brassières at the Paris World’s Fair in 1900.

Bustle:

Padding worn underneath the dress in the back at the level of the lower back and consisting of a half-cage whalebone armature thet supported a bum roll (the bulky drapery formed by the rear part of the skirt). the bustle succeeded the crinoline around 1867, then disappeared around. 1899. In France it was commonly called a faux cul (false rump).

Corset:

Although more flexible than the whalebone body the corset was made from heavy fabric and was stiffened and laced. It gave shape to the silhouette and the dress by sonctricting the waist and the stomach and by modking the breasts. It could be highly ornate.

Corset cover:

A piece of lingerie worn over the corset to conceal it.

Cretonne:

The name derives from Creton, a village in the Eure region of France. Cretonne fabric is a hard-wearing linen or cotton.

Crinoline:

The term originally referred to the material used for petticoats worn to support the widening skirts of the 1840’s. This rigid fabric invented in 1840 by Oudinot to stiffen stocks worn by the military owes its name to the French word for horsehair (crin), from which it is woven. The crinoline or hoop skirt is an underskirt with a cage-like armature made from whalebone or spring steed hoops that women wore to make their dresses billow out.

Dimitri:

A common fabric sharacterized by a linen or hemp warp and a cotton weft in use since the 13th century.

Dressing gown (also called a robe):

In the 17th century, dressing gown meant womething other than court dress that one could wear at home excluding receiving guests. It was not yet a lounging robe, except for men. In the 19th century the woman’s dressing gown became the lounging robe known as a negligee. It is generally worn upon rising and retiring to hide the nightgown or pajamas and may be made from all sorts of textiles.

Embroidery:

Decorative needlework using thread that more or less covers the material. Embroidered motifs may be flat or raised, openwork, geometric, floral or animal. Embroidery thread may be linen, cotton, ramie rayon, silk, wool, or synthetic and metallic filaments sheathed in polyester.Some embroidered designs include pearls, and sequins, lace, soutaches, ribbons, and fabric appliqué. embroiderey can be done by hand or by machine.

Farthingale (vertugadin or vertugade):

A stiff, bell-shaped petticoat stretched over large iron wires or wooden sticks. Spanish in origin, the farthingale was designed to make the skirt flare. French fashion transformed it into a round bolster positioned at the waist that distributed the fullness of the dress around the body. At the end of the 16th century, the farthingale took yet another form when it became a wheel upon which the skirt extended.

Filling (also calle weft, woof, or pick):

Threads passed perpendicular to the warp thread during the weaving process.

Flannel:

A soft and fleecy, loosely woven fabric made from worsted or carded wool.

French panty and pettipants:

In France the term panty refers to a control panty with legs made from an elasticized stretch material. Use of the French panty spreas during the 1960’s. The form was adapted to lingeie fashions and called pettipants, in which case the legs are loose-fitting and decorated with lace at the extremities.

Fustian:

A twill with a cotton weft and a different textile fiber (hemp, linen or wool) for warp.

Garter belt:

Small accessory item resembling a belt made of rubberized ribbons, belts, or fabric strips (elasticized or not) with four garters for attaching stockings. The garter belt appeared around 1910.

Garters (bands):

Belts or fabric bands (elasticized or not) worn around the legs above or below the knee to hold stockings up. Garters bands may be adorned with trimmings such as gold or silver fasteners, gems and embroidery. Garter straps replaced garter bands in the 1900s.

Garters (straps):

Elasticized strips or rubberized ribbon incorporated into a full girdle or garter belt (and into underpants in some contemporary designs) and with a small clip at the end for holding up stockings stretched over the legs. In addition, the garter functions as a tensor near the top, becuse it creates a straight line up to the corset.

Girdle:

Undergarment of elasticized material that fits tightly around the waist, hips, and sometimes the upper thighs. The girdle replaced the corset beginning in the 1930’s.

Guêpière (also called French cinch, waist-cincher, and waspie):

A type of girdle made from elasticized materials to make the waist look slimmer.

Jersey:

Jersey is knit with a single weft yarn, which produces uniform stitches on on face. Jersey may be knit from cotton or silk.

Lace:

A delicate openwork fabric in which warp and weft threads are indistinguishable. Lace fabric consists of a net ground (mesh) and motifs obtained by interlacing, twisting, looping, or braiding threads. Lace can be made from linen, cotton, ramie, silk, rayon, wool or metallic and snthetic threads. There are different varieties of lace. Boggin lace is made by taking threads attached to small bobbins and interlacing them at specific points indicated by pins attached to a backing; Chantillu and Valenciennes are important bobbin lace-making centres.

Lawn:

A diaphanous plain weawe fabric woven from linen or coton that is finer than batiste.

Lycra and Lastex:

A registered trademark intorduced in 1959 after the material was invented in the laboratories of Dupont USA. Lycra is a synthetic fabric with a highly elastic network having the same properties as Lastex. Lastex, an elastic yarn invented in 1942 (the trademark derives from the words latex and elastic), is spun from rubber covered with natural or artificial textile fibers, hence its elasticity.

Mastodeton:

An assemblage of ribbons tied around the breasts that served as a brassière in ancient Greece. The term comes from the Greek word for breast (mastos).

Moiré:

A finishing technique used on rebbed fabrics after weaving. The fabric width is folded over (selvage on selvage) and subjected to heaby pressure, which crushes the ribs against each other. The result is a flatterning of network and nap into a shiny surface. Moiré produces a shimmering pattern with more or less random outlines.

Muslin:

A fine, lightweight, lustrous cloth that is usually finished. Muslin can be made from cotton as well as wool and silk.

Negligee:

An article of clothing made from fine fabric and worn in the home as loungewear and sometimes for receiving a few close friends that is especialy associated with the 19th century.

Nightgown:

Idential to the undershirt, but meant for sleeping. It may have long or short sleeves, or even straps. It is made of the same materials as the undershirt.

Nylon:

A registered American trade name created in 1935 from the designation “no run” (meaning will not unravel). Nylon is a syntheteic fiber (polyamide) obtained from the chemical interactions of tar by-products. It makes a hard-wearing, elastic, easy care material.

Pajamas:

the term pajamas comes from the Hindustani word pay-jamah meaning leg garment. Pajamas are loose, lightweight garments consisting of a top (jacket) and bottom (pants) intended to be worn as nithtclothes. Pajamas have been worn by both sexes since the 1920s, when women adopted a version that was more feminine in cut, patterns, and colors. The term can also refer to a beach outfit.

Pannier:

(also calles hoops or hoop petticoat). The body of a skirt stiffened with a rigid armature of rush or whalebone that was used to give fullness to a dress or a skrit. Hoops come in various shapes (round, oval, etc.).

Petticoat:

An article of lingeie. In the beginning a petticoat was a short skirt worn under other skirts. At the end of the 18th century, petticoat referred to the skirt ove rwhich the dress opened up. By the late 19th century, the term petticoat was used to mean anarticle of intimate apparal. Several petticoats could be worn one on top of another. At first they were made of linen, then coton, silk og tulle. The petticoat was worn under panniers and crinolines. In 20th century, the petticoat was used to give volume to a skirt.

Plain weave (also called taffeta weave):

A weave with a simple structure in which filling threads alternate moving over and under warp threads. At each pick, one warp thread is successively passed under a floate over. As a result both faces of a plain weave fabric are identical. Any textile can be woven in a plain weave: linen, cotton, peticoat linen, silk, man-made, and synthetic fibers.

Poplin:

A taffeta weave fabric with silk warp and wool weft. An analogous cotton fabric with a taffeta weave has also come to be called poplin.

Rayon:

Rayon got its name from the English and French words for ray because of ets sheen. Rayon is procduced from man-made (cellulose) fibers to make long filament, which is a distinctly different yarn from the shor tstaple called spun rayon. Rayon is sometimes called “artificial silk.”

Ribbon:

A narrow band of fabric used for ornament or as a tie. Ribbons may be woven from cotton orsilk in plain, silk or pile weave.

Satin:

In a satin weave, filling threads float over multiple warp threads with a step number of several threads from one pick to another. The staggered arrangement of the intersections inhibits the formation of ribs and gives this weave its smooth and lustrous appearance. The effect obtained is therefore different on each face, because one series of threads is more visible than the other. For example. on the dominant weft face of a satin weave with a harness number of 5, 4 warp threads are floated over and 1 passed under; on the warp face, 4 weft threads are passed under and 1 is floated over; the step number may be 2 or 3 threads from one pick to another. There are also satin weaves with harness numbers of 7 and 8 produced according to the same principle. this weave is suitable for silk, rayon fabrics (especially for lingerie), cotton or wool.

Slip:

An article of lingerie consisting of a top that generally has straps and a botton in the form of a skirt. Slips come in variable lengths in cotton, silk, rayon, or nylon.

Socks:

Articles of clothing made from knitted fabric that cover feet and lower legs and which can be of variable length. Socks come in wool, cotton, nylon or fabric blends with spandex.

Stay:

A small flecible strip used to support articles of corsetry. Stays may be bone, horn, metal (primarily steel), or plastic. The French tern for stay is baleine (whalebone), because cetacean whalebones were long used for this purpose.

Stockings:

the French term for stockings (bas) is short for bas de chausse, a close-fitting article of men’s clothing that covered the leg from foot to knee. the term still means supple pieves of hosiery that cover the leg and the foot. More specifically, women’s stockings cover the foot and the leg up to the thigh. They may be in wool, cotton, silk, rayon, or aritificial silk.

String bikini:

Minuscule panties similar to a G-string, the string bikini consists of a piece of fabric (or other materialO over the front and a system of thin cords that leaves buttocks visible from behind.

Strophium:

An acient ancestor of the brassière, the Roman strophium was a scarf rolled into a sash and wrapped around the bust to support the breasts.

Taffeta:

A silk fabric with a plain weave and with which scintillation effects can be obtained by using different coloured threads for warp anf filling, whence the phrase shimmering taffeta.

Tights:

Very tight-fitting (hence its name) article of clothing made from knitted fabric that covers the body from feet to waist where it is helt up by elastic. Tight can be made from wool, cotton, silk, rayon, artificial silk or nylon.

Twill:

In a twill weave the filing threads float over several warp threads with a step umber of one thread from one pick to another. The intersections of a twill weave therefore form diagonal lines slanting left (S motif) or right (Z motif). The two faces of twill fabric differ, because one series of threads is more visible than the other. On the dominant warp face, warp threas float over weft threads; on the weft face, weft threads float over the warp threads.

Underpants (also called pants, panties, briefs, drawers, and unmentionables):

Underwear that covers the lower trunk with two opening for the legs. Underpants are made from a multitude of textiles, including cotton, silk, and nylom, and may be devorated with embroidery, lace ribbons, or other trim.

Undershirt:

an article of lingerie that covers the upper body and varies in length according to the epoch. the undershirt is worn under corsetry items like a second skin. Originally made from linen cloth, it later became more refined in cotton, silk, or nylon decorated with lace, ribbons or embroidery.

Voile:

A fine sheer fabric with a plain weave woven from coton, wool or silk.

Warp:

Threads stretched lengthwise parallel to the loom and between which filing threads (weft) are interlaced during the weaving process.

Weave:

The method of interlacing warp and weft threads that technically determines the character of a woven fabric.

Whalebone body (corps à baleine or corps):

An article of corsetry worn from the 16th to 18th centuries that bound the bust by incorporating whalebone stays into a tightly-laced bodice. It was replaced by the corset. The whalebone body was made of heavy-duty fabrics often devorated with more cosly textiles on the exterior.

Zona:

A Greek foundation garment dating to the 9th century BC, the zona was a large belt designed for young girls to be worn over the hips until marriage.