This Jeanne Lanvin gown would have been among some of the first images of Parisian design under the Occupation released to New York readers.

Despite my love for both fashion and history, it was not until recently that I discovered that during the Second World War, the Nazis tried to co-opt the Parisian fashion industry and bring all their entire operations to Berlin. Seems like a bit of a waste of time when fighting a war, but the Nazis insisted on being the best at everything (including the production of fashion) and set their sights on a fashion industry that is still revered world wide today. Here’s a brief history of Parisian fashion during that time.

As early as 1860, over half of the working women in Paris were employed in needlework. In 1938, the clothing industry earned 25 billion francs, proving it had survived the Depression. The New York Times reported in 1945 that Parisian fashion in peacetime employed about two million people and was France’s second largest export, with the US as its best customer. Indeed, Parisian fashion designers made money simply from selling toiles, or sample pieces, to American retailers to adapt from and mass produce.

Representatives from many nations, including Germany, travelled to Paris twice annually to see seasonal openings and take note of current trends. The Nazis had attempted to put forth their own fashion aesthetic upon their seizure of power in 1933, but they never fully cut off ties from Parisian fashion. They had hoped to create a German-led fashion industry that would eclipse Paris, but in reality, German designers needed inspiration from Paris.

Marcel Rochas was another designer working during the Occupation. His fashion house continues to live on as simply "Rochas."

As the New York Times reported in January 1941, the Germans boasted that Vienna would be the new style center of the world. Further, the paper reported that the Germans were “transferring silk looms from Lyons to Germany and inviting the great dressmakers to move their workshops there.” Head of the Chambre Syndicale de le a Couture Parisienne, designer Lucien Lelong, fought tirelessly to prevent this. He knew that with the Occupation, Parisian designers would no longer be able to show collections internationally or continue trading with the Allies. To keep the industry together, it would have to be conducted in a brand new way.

Lucien Lelong accommodated the Occupation because to him, preserving Parisian fashion was a triumph, and to keep it in Paris was his form of resistance. He argued that the Parisian fashion industry could not design anywhere but Paris,12 explaining that results would not be the same and the Germans would be unable to profit the way they had hoped. Timing was on Lelong’s side: soon, the Nazis launched the largest invasion in history against the USSR and no longer had time to argue over dressmaking.

Lucien Lelong worked tirelessly to protect the fashion industry from the Nazi take-over. To him, resistance was to continue designing and to employ as many workers as possible.

Since the liberation of France in 1944, Parisian designers have come under attack for their “collaboration”- accused of having designed dresses during the Occupation, sometimes selling to Nazis and their wives. Not only is this allegation nearly impossible to conclusively prove, but it is more important to note that many designers, like Lelong, had no idea how long Paris would be occupied, and did their best to simply remain employed. Rather than see their industry forcibly moved to Berlin, they sought to prove that it would be best left in Paris, with its designers still working. In contrast to collaboration, designers like Lelong (and his 2 most famous employees, Christian Dior and Pierre Balmain), called their actions resistance.

Have a question about fashion history? Comment here below, e-mail me, or share it with us on Twitter and Facebook!

Carla-Jean
carla@nowthatslingerie.com

References:

Valerie Steele,  Paris Fashion, 250.

Lou Taylor, “Paris Couture, 1940-1944,” 127.

“Paris Dress Shops Were Cool to Nazis,” New York Times, April 19, 1945, 24.

Rebecca Arnold, The American Look: Fashion, Sportswear and the Image of Women in 1930s and 1940s New York(London, New York: I.B Tauris, 2009), 6.

Virginia Pope, “The Fashion Capital Moves Across the Seas,” New York Times, August 18, 1940, 92.

Irene Guenther, Nazi Chic?, 203,  203-05, 208-09.  Guenther writes that on one occasion, a German designer even stole a button off a Schiaparelli sample outfit.

“Vienna Style Center of World, Say Nazis,” New York Times, January 16, 1941.

Mildred Adams, “Westward the Way of Fashion,” New York Times, January 19, 1941.

Dominique Veillon, Fashion Under the Occupation. Trans. Miriam Kochan (Oxford and New York: Berg Publishers, 2002), 86.

 Image Sources:

Jeanne Lanvin Gown Photo: New York Times October 15th, 1944, pg SM34.

Lucien Lelong Design from 1941: http://hprints.com/db/P_benigni_1941_lelong_v.jpg

Marcel Rochas Design from 1943: http://hprints.com/db/Rochas_1943_mourgue.jpg

The ideal body of the 1950s was overtly sexy with sharp outlines; the fashionable woman had to have a high bust line, tiny cinched waist, and rounded hips. Thanks to couturiers like Christian Dior who were inspired by the clothes of the nineteenth century, many undergarments were required to maintain the fashionable silhouettes of the decade.  Woman would wear bras, corselets, girdles, slips, petticoats, garters and stockings under every ensemble to achieve the rigid and artificial silhouettes of the fifties.

Christian Dior's New Look, 1947

The fifties was the peak of the uplifted and cone shaped breast; the silhouette was so exaggerated that bras were referred to as ‘torpedos’ or ‘rockets’ due to their sharp points and stiff textures. Circular stitching  and padding was often used on the cups of these bras to achieve the stiffness and cone-shape; these circular stitches were so popular that special sewing machines with multiple needles were developed to mass produce this look. One of the most famous models was the Whirlpool Brassiere by Hollywood-Maxwell.

Whirpool Brassiere by Hollywood-Maxwell, circa 1950s

Actresses like Sophia Loren and Marilyn Monroe possessed the high, globe-shaped breasts that were the ideal. Women who did not naturally have ample bust lines often wore false inserts in their brassieres.  One particular bra, the Tres Secrete by La Resista, actually had plastic pads inside the cups that could be inflated using a small straw. In addition to the small breasted, these inflatable bras were worn by many women who had undergone mastectomies as well.

Advertisment for Inflatable Bras, circa 1950s

During the 1950s, the Maidenform Company launched their “I Dreamed” ad campaign which featured bra-clad women enjoying a variety of fantasy activities and careers such as “I dreamed I was a designing woman in my Maidenform bra”. These empowering, if not sometimes ridiculous ads, struck a chord with women, and the campaign was wildly successful with a twenty year run.

Maidenform "I Dreamed" Ad Campaign, circa 1950s

The cost of bras was a constant factor in their production as consumers in the fifties demanded both high quality and affordability.  Companies began to turn to facilities in the developing world for sewing to offset the high costs of domestic labor and materials.  Polyester, a revolutionary new fiber of the decade, was used in brassieres to make garments durable and easy care.

Sophia Loren circa 1950s

Want to ask me about fashion history?

E-mail me! alexis@nowthatslingerie.com

Information sources:

Jane Farrel-Beck and Colleen Gau, Uplift: The Bra in America, 2002

Christina Probert, Lingerie in Vogue Since 1910, 1981

Image sources:

New Look: http://www.flickr.com/photos/finalfashion/471709458/

Whirpool Brassiere: http://www.flickr.com/photos/23097960@N04/2547726568/

Inflatable Bras: http://fashionpreserve.blogspot.com/2009/07/ill-huff-and-ill-puff-inflatable-bras.html

Maidenform Bra Ad:  http://joanakelly.com/?p=475; also http://hubpages.com/hub/Madonnas-80s-Cone-Bramaking-a-comeback

Sophia Loren:  http://beautifulummah.blogspot.com/2009/02/hijabiapprentice-checking-in-for-roll.html

Cone bra illustration: http://latherrinseandrepeat.wordpress.com/2009/03/11/bra-velation/

219846 Wild Heart Chiffon Animal Print Semi-Sheer Babydoll by Blush Lingerie

In honor of my favorite leopard print coat, I thought it would be fun to write a blog about the history of animal prints and their use in lingerie.  Animal skins have been used since ancient times for warmth and protection, but have also had spiritual significance as well.  Many indigenous societies believed that by wearing the skin of an animal, you were harnessing that animal’s power.

Today, we prefer to wear the prints of animal pelts as opposed to the real deal, but maybe we are still trying to capture some of the wildness of our primitive past!  The animal print has been very fashionable throughout the twentieth century, and here are a few examples of how they have been chic, sexy, and a bit dangerous.

Bettie Page in 'Jungle Bettie', circa 1940s

Thanks to World War II, the 1940s saw the emergence of the pin-up girl as a new American icon.  One of the most iconic pin-ups of the era was Bettie Page, a model known for her risqué fetish photography.  Some of her best images were the Jungle Bettie photographs in which she posed with cheetahs in a Tarzan-like leopard mini-dress.  The idea of women as sexual predators was a dominant one of the forties; perhaps men were uncomfortable with the growing emancipation of women.  Page in her leopard lingerie were strong images of feminine power, and inspired many women to wear animal prints.

Christian Dior, the famous couturier of the 1950s, is another important lover of animal prints.  His obsession with leopard fabrics came from his supremely chic muse, Mitzah Bricard.  This Parisian fashion plate was Dior’s right hand woman, and thanks to her love of leopard, Dior produced accessories, gowns, and ad campaigns featuring the animal’s print.  Dior’s interpretation of leopard was chic and refined as opposed to Page’s overt sexiness, and no fifties wardrobe was complete without a touch of leopard.

Mitzah Bricard in Christian Dior, circa 1950s

Animal prints have a dangerous side as well, thanks to the punk rock scene of the late seventies.  The punks brought a trashy vibe to 1970s fashion, and often chose to wear animal print lingerie and stockings under their ripped and torn clothing.  The seediness and danger of punk infiltrated the mainstream through the photos of Helmut Newton, and by the end of the decade animal print lingerie, hosiery and fashion was everywhere.

Sid Vicious and Nancy Spungen, circa 1970s

Want to ask me about fashion history?

E-mail me! alexis@nowthatslingerie.com

Image sources:

Bettie Page:  http://piley.blogspot.com/2009/12/bettie-page.html

Mitzah Bricard:  http://geniusbeauty.com/make-up/dior-mitzah-bricard-makeup-collection/

Sid and Nancy: http://dothedevo.wordpress.com/category/ranting-my-extra-special-ramblings/

Animal Print swatches: http://www.housefabrics.com/

Here are my top five trend picks from the fall 2011 runways.

1. Fetishism

There was an overall hard-edged look to many styles for autumn; clothes were structured, very fitted, and often inspired by the rigorous tailoring of menswear. Black was everywhere: in somber woolens at Chanel, slick leathers at Alexander Wang, and even some latex at Marc Jacobs.  His Louis Vuitton collection was the most fetishy of all; inspired by the kinky film The Night Porter, the show featured silhouettes combining maids and military uniforms.

Louis Vuitton Fall 2011

2. Sheer Fabrics

Sexiness was definitely a trend across the board, and what better way to be seductive than to show some skin! At Givenchy models paraded in black sheer blouses with severe and modern black bras underneath. Dolce & Gabbana, the kings of lingerie dressing, presented several dresses with strategically placed sheer lace panels, and lacy bras peeking out of necklines.  Finally, Stella McCartney’s collection included fabulous sheer dresses and jumpsuits adorned with embroidered polka-dots.  Lace, chiffons, organzas, and nets were all seen on the runways. 3. Animalism

Many designers were tapping into their wild side for fall. Prada showed a beastly collection; dresses and coats were adorned with wild, colorful furs and large, fish scale-like paillettes.  Several Alexander McQueen ensembles were adorned with white ostrich feathers, while one lavender dress was crafted from strips of lavender chiffon distressed to give a feathery texture.  Animal prints were everywhere; from panther heads on Givenchy dresses, to tiger at Dolce & Gabbana, and snakeskin at Gucci and Chloe.

Givenchy Fall 2011

4. Retro Styles

Designers have been feeling retro moments for quite a while now, and fall 2011 was no exception. Miu Miu’s feminine collection, for example, was like stepping into the pages of a World War II era Vogue magazine.  Marc Jacobs, a lover of all things vintage, chose to focus on the late fifties, with his girls in prim berets and tightly fitted hourglass silhouettes.  Many other decades were referenced as well such as Gucci’s seventies homage, and Rodarte’s Edwardian farm girls.

Miu Miu Fall 2011

5. Vivid Colors

In stark contrast to all of the black, many designers chose to show silhouettes cut in brilliant, jeweled colors, especially a rich jade green (seen at Gucci, Pucci, Givenchy, Proenza Schouler, and Louis Vuitton).  Saturated and rich color is definitely in; think magentas, reds, yellows, and dark purple.

Gucci Fall 2011

What did you think of the fall collections?  Any likes or dislikes?  Please feel free to comment, or email me at alexiswalker@nowthatslingerie.com

All images taken from www.style.com

Stella McCartney Fall 2011

Dolce&Gabbana Fall 2010

To wear a Christian Dior gown in the 1950s meant you had to have the corresponding Dior undergarments to give you the right proportions. Without them, the silhouette of the dress just didn’t work.

Flash forward to today, where Italian design dynamos Domenico Dolce & Stefano Gabbana work in a similar, yet contemporary manner to old Mr. Dior. Since their debut in the late eighties, practically every Dolce&Gabbana collection features silhouettes whose foundation is dead sexy, retro-inspired lingerie. The lacy hem of a silk slip peeks out under a razor-sharp tailored suit, or a black satin corset is revealed under a sheer, lingerie like dress, for example.  Dolce&Gabbana’s trademark is a curious juxtaposition of flash, fetish, and sophistication. As with Christian Dior before them, Dolce&Gabbana’s clothes require the proper style of undergarments to look their best.

Triumph Lingerie 1948 Comfort Curves Seamless Bra

The lingerie designed by Dolce&Gabbana is unique and instantly recognizable.  Animal prints, for example, have become a house classic, as has black satin and intricate laces. As for shapes, the strapless corselet and balconette style bra are revisited and reconfigured again and again.  Finally, the undergarments of the 1950s are a huge source of inspiration for the duo; you can always find structured cone shaped bras and high-waisted panties (modeled on the foundation

Triumph Lingerie 3309 Petites Embroidered Balconette

undergarments of that decade).  Their lingerie, combined with their fashions, makes me think of a Sicilian housewife who is, on one hand, a conservative Catholic matriarch, while at the same time harboring naughty hidden desires beneath the surface.

As we are all aware, high-fashion lingerie comes with a high price tag, and not many people are willing to spend hundreds of dollars on their knickers!  It is easy, however, to incorporate the look of the Dolce&Gabbana sexiness into your existing wardrobe.  All you need is a fabulous balconette bra or corselet (preferably with black lace or leopard print) to wear underneath a semi-sheer black blouse. If this look is too revealing for some, pair your sheer blouse with a tailored, black skirt or pantsuit and you will have captured the elegant kink of the Italian fashion mavericks.

I hope you like the work of Dolce&Gabbana as much as I do!  Please email me at alexiswalker@nowthatslingerie.com with any questions or comments.

Dolce&Gabbana Milan Spring

Information Sources

www.style.com

Featured image: Looks from Dolce & Gabbana’s Spring/Summer 2010 women’s ready-to-wear runway collection during Milan Fashion Week. Photo credit: Peter Stigter and Jonas Gustavsson / For The Times

During the Victorian Era, a time of romanticism and sentimentality, mourning the dead became an important ritual in society.  If a close family member died, a woman could be in mourning for up to 2.5 years, and was expected to wear dark clothes, accessories, and of course, undergarments.  Due to shorter life expectancies, a woman could be in mourning, and therefore black fashion, for years.

Bra Doctor Lingerie 7602 Marianne Balconette Bra Doctor

As with all things Victorian, there was a bit of a paradox to the ‘widow’s weeds.’ A woman was expected to live a cloistered, celibate life after her husband’s death (much like a nun), yet a widow, if she chose, could move much more freely in society than an unmarried woman.

Some widows, while observing the mourning ritual by wearing black, wore elaborate up-to-date fashions and accoutrements .  It’s quite deviant to think of these women indulging in sensual silks and laces at a time when one should be mourning the dead!  Black clothes, and therefore the black corsets and under things worn with them, became fetish objects loaded with ideas of sexual provocation deviance, and death.

Blush Lingerie 218041 French Lesson Lace Pushup Corset

The silver screen starlets of the early twentieth century further added to the sinister allure of black knickers.  The ‘vamps’ of the twenties and thirties, and the film noir ‘femme fatales’ of the forties were sexual vampires, feeding off the weakness of men.  These dangerous  sirens were often dressed all in black : think of Ava Gardner “setting the world on fire” in The Killers from 1946.

These spider women were bold, empowered predators who used their bodies to entwine men into their devious plans.  It’s no surprise that black lingerie was an essential part of their seduction; their dark knickers were a visual reminder of the source of their dominance, and their sexual power. The poor men never stood a chance…..

Triumph Lingerie 1932 Lace Sensation Padded Bra

Of course, we can’t forget about the fifties!  By this time black lingerie took on a refined and chic . The 1950s is the decade of the Little Black Dress after all, and it was necessary to wear black undergarments underneath your Dior or Balenciaga LBD!  There was still a naughtiness to fifties lingerie. Warner’s released a bestselling corselet in 1955 aptly named ‘The Merry Widow,’ which brings us back to the beginning!

Info sources:

Jill Fields, An Intimate Affair: Women, Lingerie and Sexuality

Ava Gardner, Ava: My Story

www.en.wikipedia.org/wiki/femme_fatale#20th_century_film_and_theatre

It’s hard for most anyone (other than models, of course) to look classy when wearing an ultra-short dress or skirt.  Thankfully, the rest of us can be satisfied with knee-length dresses and skirts that reveal just a flattering peek of our thighs!  If your outfit is a bit sheer and you don’t want to reveal that much skin, try wearing something else underneath.  Arianne’s Kelly collection has a 19″ half-slip with a lacy hem on the bottom for skirts, and a basic, opaque 35″ full slip for dresses, with adjustable spaghetti straps.

Kelly 19" half-slip with lace hem, Kelly 35" adjustable full slip, both by Arianne and available at Now That's Lingerie.com

Plus, try wearing some invisible underwear to eliminate any panty lines!  Take a look at Elita’s aptly-named Invisible collection.  This way, nothing but your beauty will detract from your sexy outfit!

Elita low-rise Invisible panties (thongboy and thong shown), available at Now That's Lingerie.com

Check out last week’s Style update: Ruffle-Mania!
Stay tuned for your next style update: Boyfriend Blazers (& what to wear under them)!

Questions about fashion and beauty?  Ask me!
e-mail me at lisa@nowthatslingerie.com!

Whether it’s lightweight, diaphanous fabric, sheer lace prints or appliqués, recent trends are resplendent in their femininity and sensuousness.  Spring’s dreamy dresses with long, flowing skirts give off a majestic appeal while maintaining a sophisticated edge.

Diva sheer camisole by Arianne, available at Now That's Lingerie.com

Sheer tops in ready-to-wear styles lend versatility to this coveted barely-there, glamorous look.  Arianne’s Diva camisole has a stunning lace, corset shape and lined bodice– making it a daring ensemble when paired with your favorite jeans or skirt.  Another versatile top by Arianne is in the feminine Keri collection: it’s lined for opacity all over, except the sleeves are still sheer… plus it has a cross-your-heart neckline and has scalloped edges along the bottom hem!  Both tops feel light and airy, just like this pink dress by Christian Dior (above).  The sheer look is definitely one to love this Spring!

Keri floral cross-over lined top with sheer sleeves, by Arianne. Available at Now That's Lingerie.com.

Stay tuned for my next fashion blog: Ruffle-Mania!

Questions about fashion and beauty?
e-mail me at lisa@nowthatslingerie.com!