Session 4

History of Women's Undergarments

Contents
Introduction, p41
4.1 Ancient times, p41
4.2 Middle ages, p43

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4.3 Modern age to recent times, p43
Summary, p55

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Objectives, p55

Introduction
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In the last session we have looked at the history of men’s undergarments.
Now let us divert our attention towards the history of women’s
undergarments. By far women wear more undergarments compared to the
men. In this session we shall be looking at the history of these
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undergarments from the ancient times.

4.1 Ancient Times

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In ancient times, women would wear what can only be described as a

"bosom supporter" the literal translation of the modern day French word for
bra, soutien-gorge. Drawings have been found showing women with their
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naked chests. During excavations undertaken in tombs of the city of Suse, a

pair of "chest-covers" was discovered. But nothing allows us to assume that
women on a regular basis wore this garment. It may only be an element of
the funeral garment.
Up to the second millennium, the Egyptians were dressed in a smock that
left the breasts uncovered and put an emphasis on them. Egyptian women
ornamented their dresses with beads or pleats and covered their breasts most
of the time, though there were times when fashion left them bared. Shawls
were sometimes worn during the New Kingdom. Slave girls wore at times
little more than skimpy panties.
Greek women wore a laced corsage below the breasts keeping the chest
naked. They used an apodesme, small bands of cloth that they rolled under
the chest to support the breasts. This was not done for aesthetic purposes, it
was entirely utilitarian, to prevent the breasts from moving while walking.

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Little by little, the apodesme shrunk, taking the name of mastodeton. And
the name changed according to the place where it was worn.
Roman ladies, like the Greek women, took their turn with the apodesme.
Only the name changed, to become the mamillare, the fascia, the capitium
and the toenia. Young girls wore the fascia to hinder the growth of the
breasts. The mamillare served in getting rid of large breasts. While the
strophium, simply supported the breasts.
Figure 4.1a illustrates the figure of a women athlete from a fourth century
mosaic in her undergarments. She holds a palm branch signifying that she
has been victorious in a contest. Figure 4.1b and c illustrate two pictures of
women athletes from the Roman times wearing strophium and mamillare.

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a.
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b. c.

Figure 4.1: Strophium, Mamillare and Subligar

The strophium is the Roman brassiere. It is a band of soft linen 6" to 8"
wide (or a folded wider strip), long enough to go around the body at least
twice. It can be worn in several ways, for example placing the centre of the
band at the back and crossing the ends in front to support the breasts, then

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wrapping the ends around and tucking them in again. Evidence is scarce,
however, and pins or ties may have been used. Like men, women in Roman
times wore a simple, wrapped loincloth subligar or subligaculum at least
some of the time (see Figure 4.1).

4.2 Middle Ages

In general, Medieval women wore many different clothing styles. Normally,

women would wear silk or homespun wool for everyday use. During the
second half of the era, clothing became more elaborate. Now, it is thought
that women only dressed nicely to go out. They dressed loosely around the
house and thought that there was no need to impress their husbands.
Female peasants usually wore clothes in the form of a long dress, made of

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coarse wool. The bottom for the cloth was usually brown and maybe even a
linen undergarment. Medieval ladies wore clothing of fine silk, wool, and

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fur. Her undergarment was made of fine linen, over which in winter she
wore a pedicoat topped by a gown or surcoat.
In the second millennium BC, women of Crete wore a simple corset that
supported their breasts at the base, then thrust them up and outward, boldly
naked. It was definitely a strong fashion statement by a society who
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worshipped a host of female divinities. Styles became a little more mild in
the Middle Ages. Small, firm breasts were back in style, and women wore a
multitude of dresses, such as, cotte, bliaunt, and surcot, which slipped on
over their dresses and hugged the breasts tightly. Towards 2100 AD, in
Crete, the corsage, opened in the front all the way to the waist, and left the
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chest bare. Slats of copper, refining the waist and giving curves to the
breasts, completed the clothing. We can situate the appearance of the corset
in this period.
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We can see on the Arc de Triomphe in the city of Orange a fresco on which
figures of two topless Gallic women wearing long skirts. Women wore a
strip of cloth after Caesar conquered the Gauls. In the 12th century women
carried the basquin, a sort of stiff cloth corset that strangles the waist. A
century later, the gourgondine (corsage) is carried over a corset. In the 14th
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century, belts become very large and supported the chest. However, few
women wore them and it was even prohibited in some regions of France. A
1370 edict of Strasbourg declared, that no woman might support the chest
whether it is by means of a shirt or by a laced dress.

4.3 Modern Age to Recent Times

From here one we are going to discuss the history of women’s underwear
based on the type of garment.

Corsets
Toward the end of the Renaissance, Spain, the dominant empire of the time,
set a more serious standard for fashion as an upholder of virtue. The padded

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silhouette came into being, with a flat stomach, narrow waist, and cone-
shaped bust. The corset became a virtual straitjacket, moulding women's
bodies into unnatural shapes, compressing their internal organs, and
frequently causing their ribs to overlap one another.
In the eighteenth century women ruled the elegant society of the salons.
Their bodies were still ruled by the corset, which achieved artistry, never
seen before in undergarments. Lavish use of damask, satin or brocaded silk,
embellished with embroidery, ribbons and exquisite laces disguised the rigid
structure of whalebone within.
Corsets of the day compressed breasts from below to make them bulge
upward, looking as though they were ready to pop out. They also served to
separate the aristocracy from the commoners, who wore a simple front-
lacing cotte.

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In the 1770s, revolution was in the air and a crusade was launched against
the corset, with doctors, philosophers, writers and naturalists agitating for

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the abolishment of this "body press." Boned corsets were specifically
prohibited, as clothing became simpler and more practical.
Yet, the idea that the body needed firm support was so deeply entrenched
that corsets soon reappeared. In the early 1800s, the fashion was for wide-
set breasts, which were achieved by a complex system of boning, invented
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by the corset-maker Leroy and known as "divorces." Other technical
changes came to the corset: styles were woven without seams for greater
smoothness; metal eyelets replaced the weaker embroidered ones; and
"Instant Release" and "lazy lacing" systems of pulleys allowed women to
lace and unlace themselves.
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By the 1840s, women's figures were completely exaggerated. Huge full

sleeves, a miniscule corseted waist, followed by whalebone hoops and
crinolines covered with yards and yards of fabric, flounces and trims. A
waist that could be encircled by a man's two hands was held up as the model
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to emulate, and women laced themselves tighter than ever.

Medical records note one fashionable young woman who died when three of
her ribs actually pierced her liver.
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In the late 1800s, the crinoline vanished but the corset stayed, now
accompanied by a bustle in back, for a distinctive S-shaped silhouette. The
projecting "bustle" effect was first achieved with a horsehair pad, and then
with a metal frame that meant a woman could only sit with the very tip of
her bottom on the very edge of the chair.
In the 1900s, the corset reached new heights. Models became more
numerous and more specialised. There were corsets for morning (lightly
boned), bathing at the seaside (unboned), horseback riding (elasticised at the
hips), riding a velocipede (made of jersey), and much more. Some corsets
came with their own perfumed sachet hanging in the centre. Others were
crafted of white satin, especially for wearing to a ball.
As the century progressed, medical opinions became sharply divided on the
corset. On the one hand there were the doctors who saw the corset as an
instrument of torture, deforming the body and internal organs. On the other

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hand, the majority still believed that corsets provided valuable support to the
breasts, and kept the internal organs safely inside the body.
By the end of the 19th century, women were so tightly corseted that they
could not bend over. And the corset itself was hung with a combined system
of garters and suspenders to hold up the stockings, a system as complicated,
some said, as rigging a ship. The idea of the "artificial breast" was
introduced. Designed to be worn in a corset, these were made of chamois
leather, quilted satin, India rubber; one style could even be inflated at will.

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a. 16th century b. 17th century c. 18th century
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d. 19th Century
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e. 20th Century
Figure 4.2: Styles of Corsets over the Years
As the 20th century dawned, women continued to wear corsets - now lacing
down to the knee - but the tide of public opinion was turning against them.
Popular dancers Isadora Duncan and Loie Fuller reintroduced the ancient

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Greek idea of formless, free-flowing clothes and no pinched waists.

Couturier Madeleine Vionnet banished the corset and cut her dresses on the
bias to provide more freedom of movement.
World War I assured the end of the corset as an everyday undergarment.
While the men were fighting at the front, women were on the home front,
labouring in factories, working in the fields. Corsets were abandoned in
favour of a shorter and more pliable girdle, coupled with the modern bra.
And as the Roaring Twenties swept in, American women led the way with
their breast-minimising bras, loose chemises, and other promoters of the
new "flat chest." Figure 4.2 illustrates the corsets styles over the last 500
years.

Petticoat

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No one knows exactly when the petticoat was first worn. The same word is
used in contemporary reference for both the underskirt and the outer-skirt,

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which was separate from the bodice. Unlike the chemise, it was a separate
skirt-type garment that hung from the waist. The practice of wearing the
petticoat was well established by 1585.
The under-petticoat was tied with points, or laces, and was made of red
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cloth, a velveteen-like fabric, and a type of serge called fryzado. Skirt
circumferences expanded and so did the petticoat, and by 1550 the outline
was sustained by the artificial hooped petticoat or farthingale. The Spanish
farthingale was a petticoat reinforced by a series of graduated hoops of cane,
whalebone or wire. It was shaped like a cone and resembled the Victorian
cage-crinoline. Fabrics used were satin, velvet, wool, and silk, usually of
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vivid colours. The farthingale was no longer fashionable in 1625, and more
under-petticoats were required to support the wide outer skirt.
During the period from 1711-1790, the hoop dominated the style of the
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skirt. Hoops served the same purpose of the farthingale a century before and
the Victorian crinoline a century later, to support and emphasise the fullness
of women's skirts, and to express class distinctions.
The hooped petticoat was made of strong fabric stiffened with whalebone
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hoops increasing in circumference from the waist downwards. By the 1740's

the hoop was so wide that the lady had to pass through a doorway sideways
or flatten the hoop by pressure on the flexible rings. Not to be deterred, by
1750 a pair of hooped bustles called false hips, were worn, one on each hip.
Each contained a pocket inside. To obtain still wider breadth, the
substructure was crowned on each side with three metal hoops, which, being
hinged, could be folded up under the arms when occasion required.
The width of the hoop skirt continued to become wider until 1760 when the
dome shape returned, and other than for court dress, by 1775 the hoop had
given way to the bustle. The bustle was a large, rolled pad, which tapered at
the ends, tied around the waist and was stuffed with cork or other light
cushion stuffing.
The under-petticoat became narrow and tubular, but since it had to support
the bustle, it was made of sturdy fabrics such as flannel, cambric, calico, and
dimity. Often it was bordered with coloured bands. Quilted petticoats were

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worn for warmth. It is not known if more than one under-petticoat was
worn, but illustrations of the time indicate not.
For a short time before and after 1800 the bustle was discarded. But by 1810
it returned in the form of small rolls sewn into the back of the skirt. By 1815
it had become detached in the shape of a long sausage with tapes at either
end by which it was tied around the waist. From about 1815 on, the petticoat
had a small pocket-hole on the right side through which a hanging pocket
could be attached. The hemline was decorated with scallops or trimmed
with a deep border. Circular rows of piping extended almost to the waist.
Later the petticoat was gored.
During the early years of the 19th century, the pocket worn under the gown
had to be replaced with a handbag or reticule due to the tighter-fitting
dresses. By about 1820, the skimpy styles of the war years were again

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replaced with more proper attire. Class distinction was of the utmost
importance. From the beginning of this period for nearly a century,
petticoats and prudery combined as a gigantic force. The steadily expanding

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skirt dominated the social scene and marked the growing importance of the
lady. Her underclothing had become, as it were, an integral part of her
personality. It expressed a statement of the higher morality. A concession
was made for accidental glimpses of the border of a petticoat and it was
embroidered beautifully for these occasions.
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Petticoats now were specialised for day or evening. Some were made with
the stomacher front and some were buttoned in back. It could have a low
neck edged with lace, and a drawstring pulled it together. Short petticoats
without bodices were also worn. A number of petticoats were worn, and
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heavier fabrics were used in wintertime.

In 1841 women wore four to six petticoats, according to the season. Only
the outermost one contained any decoration. It was made of cambric and
was trimmed with embroidery, crochet, or lace covering about six to eight
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inches above the hem. It was tied at the waist with strings, as was the under-
petticoat, which was a plain white long-cloth petticoat. The petticoat with a
bodice was now called a slip and later a Princess petticoat. Under these two
petticoats were one or two white or cream flannel petticoats which were
plain or scalloped around the hem. The circumference of these petticoats
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sometimes was as wide as six or eight feet. And under all of this the lady
wore a knee-length petticoat of stiff material, mainly the crinoline, which
was made of horsehair warp and wool weft.
Sometimes a long-cloth petticoat with heavy cording trim up to the knees
replaced the crinoline, to support the dome-shaped skirt. Occasionally the
hem of the dress was lined with crinoline so that the lady did not have to
wear several petticoats. For eveningwear, the number of petticoats could be
reduced if the petticoats were starched.
During the 1850s, quilted petticoats were worn for warmth and at this time,
coloured petticoats, especially scarlet, became the fashion. During the
period from 1857-1866, for the first time fashion accommodated itself to
one's physical needs. As mentioned, coloured garments were popular
because chemical dyes were available in 1860, and the sewing machine had

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been invented and exposure of lovely under-things did become

commonplace, much to the outrage of those in authority.
In 1863 striped plaid petticoats, trimmed as elaborately as the gown, were
popular. Petticoats were made with gores (panels) and attached to a
waistband ten inches deep. Fabric used was camlet, cashmere, rep, taffeta,
flannel, quilted silk and alpaca. By 1866 petticoats made of crinoline
material were replacing the cage. By 1866 many women substituted
flounced muslin petticoats for the crinoline, and often Englishwomen never
wore the cage seen in fashion photographs. A number of other petticoats
became unnecessary if the hoop was worn. Under the skirt the lady might
wear a decorated petticoat and under it the hoop. In summertime she might
rather wear stiff petticoats flounced and no hoop at all.
The popularity of the coloured petticoat waned by 1867. Elaborately

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decorated white petticoats returned, more complex than ever with flounces,
frills and lace. 1877 saw the Princess petticoat buttoned down the back to
knee level and made of white material and coloured silk. The walking

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petticoat measured two yards wide, and gowns with trains were four yards
wide, as were the petticoats under them. Sometimes the train was buttoned
at the hem and was detachable. The bustle prepared for its return when, in
1882, flounces and steels were inserted at the back of the under-petticoat,
and the Princess petticoat buttoned down the front with five box-pleats at
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the waist which stood out like a bustle by means of ties attached at the side
seams.
By 1890 coloured short silk petticoats were in fashion, some being
accordion pleated, or with scalloped edge trimmed with lace. In 1891
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petticoats were 2-1/2 yards wide at the hem, close gored at the top, with a
drawing-string behind; trimmed with one or two scanty frills of scalloped
embroidery with insertions. The white petticoat returned as the more
popular colour in 1894, and was at its height.
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In 1897 with the Edwardian Period and the advent of the cricket field,
women's under-clothing changed only in one important aspect. It again
became a source of physical appeal. Underwear became lingerie, drawers
became knickers, in keeping with moral tastes, yet petticoat fabrics became
flimsy. Only two were worn. The topmost petticoat was coloured and
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referred to as an underskirt. It became fluffy and frilly, especially for

eveningwear. These contained a train highly decorated with rows of satin
ribbon, frills and deep flounces. Fabrics used were glace silk, batiste, lawn,
cambric, and moirette.
During the pre-World War I years, the Princess petticoat was in high
demand, often made of crepe de Chine. Skirts became narrower and the
petticoat became almost tubular. There was a brief revival of wide skirts
from 1915-1916, fitted at the hips and wide at the hem. By the end of the
war years, the petticoat became a serious and much simplified affair, though
retaining embroidery and threaded ribbon trim. From 1919-1939 the
Princess petticoat was worn except for evening dress, and after the war it
was known as the Princess slip, then just slip. They were made of various
flimsy fabrics, silk milanese, crepe de Chine, silk, and georgette, tricot, and
washing satin. They became fitted to the natural waist and sometimes were
made with a brassiere top, or a shaped waistband to which knickers were

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attached. A rustling petticoat was often worn under an evening crinoline

dress in 1931. Figure 4.3 illustrates the petticoat styles over the 300 years.

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1742 1794 1860

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19th century 1950

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20th Century
Figure 4.3: Petticoats over the Years

Shift
English women's clothing had a basic undergarment much like the shirt,
which was called a shift. Shift was worn under the bodice and skirt, and

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showed at the neck and sleeves. The skirt reached almost to the ground and
the sleeves could reach to the elbow or wrist. It also doubled as a nightshift.
At the time, shifts were made of linen. The pieces were hemmed
individually before being sewn together. To make a shift you will need 16ft
(5m) of linen.
Separate bodices and skirts were worn over the shift. The waistlines of
clothes in the 17th century were worn higher than the natural waistline. A
‘bumroll’ was worn around the waist under the skirt to exaggerate the hips
and to make the skirt hang evenly. The bodice was stiffened to create a
smooth body, which narrowed the waist. The armholes were shaped to make
the wearer assume a stance, which was considered fashionable, with the
back upright and the arms held away from the body.

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Brassiere

Throughout the history of humans, the woman's body has been squeezed

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and contorted into many different forms. The breasts are certainly no
exception. The female bust has gone in and out of style many times. At
times, it was minimised and hidden from view. At others, it has been
maximised to the fullest extent. For instance, if we take a look back to 2500
BC, we will find that the Minoan women who lived on the Greek isle of
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Crete actually wore a bra-like garment that actually lifted their bare breasts
out of their clothes. As described earlier, hundreds of years later, ancient
Roman and Greek women took the opposite approach. They actually
strapped on a breast band to reduce their bust size. However, where did the
modern bra come from?
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Many authors claim that the bra was invented by, Otto Titzling. This story
first appeared in the book Bust Up: The Uplifting Tale of Otto Titzling by
Wallace Reyburn. The book claims that Titzling invented the bra with the
help of his assistant Hans Delving in 1912. They designed the bra for a
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Swedish athlete named Lois Lung. Titzling then sued a Frenchman named
Phillipe de Brassiere for patent infringement in the 1930s. However, it
seems the story is probably pure fiction, especially since Mary Phelps
Jacobs takes credit for the first documented use of the name brassiere in
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1913. Mary Phelps Jacob, a New York socialite purchased a sheer evening
gown for one of her social events. At that time, corsets that were stiffened
with whaleback bones were the accepted undergarment. Unfortunately,
whaleback corsets and sheer evening gowns just don't go together well.
Thus, in one of those great flashes of genius, Mary came up with a great
solution. Together with her French maid Marie, Mary took two
handkerchiefs, ribbon, and some cord and devised a simple back-less
brassiere. Her invention became popular and in November 1914, she was
awarded a patent for the "Back-less Brassiere". Mary made several hundred
of the devices (marketed under the name Caresse Crosby), but due to lack of
publicity, the business collapsed.
Mary sold the rights to the brassiere to the Warner Brothers Corset
Company in Bridgeport, Connecticut for $1500. However, the fact is Mary
Jacobs did not invent the first bra. Her design was simply the first one to be
widely used.

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According to Hoag Levins who did an in depth study of all the sexual
devices ever patented by the United States Patent Office, a woman named
Marie Tucek patented the first brassiere in 1893. This "breast supporter", as
she called it, looked very similar to the modern brassiere. The device
included separate pockets for the breasts, straps that went over the shoulder
which were fastened by hook-and-eye closures. In comparison, Mary Phelps
Jacobs device was patented on November 3, 1914 and was called a
"brassiere". She may have had the name correct, but she didn't have the
design. Her patent was for a device that was lightweight and flattened the
breasts. Her bra did not have cups to support the breasts. Of course, many
innovations were later made to the brassiere: use of elastic, standard cup
sizes, and the development of the strapless bra. Figure 4.4a illustrates the
breast supporter of 1893 and 4.4b the first bra of 1914.

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a Breast Supporter (1894) b. ‘First’ Bra (1914)
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Figure 4.4: Early versions of Brassiere

During the 1920's, the flat chested "flappers" were all the rage. A Russian
immigrant named Ida Rosenthal with the help of her husband William
founded Maidenform. Ida was responsible for grouping women into bust
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size categories (cup sizes) and developed bras for every stage of life
(puberty to maturity). Figure 4.5 illustrates the bras of the 1920s.
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Figure 4.5 Bra of the 1920s

Technology continued to affect women's lingerie. In the 1930s, the Dunlop
invented a combination of latex rubber and ammonia that they called
Lastex, an elastic yarn finer than any ever achieved. Lastex was woven into
new stretchy support garments like the Roll-on, which simply slipped on the

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body like a sock. Lingerie manufacturers also began making their items to
accommodate women's different shapes and sizes, for the first time offering
better-fitting underwear in a greater range of sizes. Bras were developed
with fitted cups, sizes A to D, and elastic straps, and variations were created
with padded cups and underwires to enhance the breasts.
In the 1950s, bras and girdles were used to exaggerate the feminine form,
much as corsets had for centuries before. Missile-solo breasts were obtained
by wearing constructed bras with circular topstitching. Millionaire Howard
Hughes even got into the act, when he designed an aerodynamic bra
reinforced with wiring for Jane Russell, who played the female lead in his
movie The Outlaw. Warner developed a "Merry Widow" in 1951, a
combination of elasticised satin girdle and wired bra that was designed to go
beneath evening wear. Figure 4.6 shows the bra styles of the fifties.

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Figure 4.6: Bras of the 1950s

A backlash followed in the Sixties, as feminists set fire to their bras, a fiery
symbol of their new emancipation. The fashion for going bra-less would
result in many lingerie manufacturers going out of business. But the
pendulum soon swung back, helped in large part by those women whose
breasts were simply too big to be comfortable for long without a bra. By the
1980s, the rounded breast and well-padded bosom were back with a bang,
and wired bras became number 1 in sales.
Today, women are enticed by a dazzling array of bra styles, colours, and
textures. If a woman wants to enhance her silhouette, she can easily do so,

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without having to endure the tortures of ages past. The new seamless
support garments mould the figure gently but firmly, in revolutionary new
blends of breathable fabric. Bras can be found with or without padding, and
the new ultra-padded bras can create amazing cleavage effects for special
occasions.

Drawers
The years 1791-1820 were war years and as such caused a revolution in
clothing styles. Underwear was simplified, and under-drawers were
introduced. Women’s drawers came into fashion around 1806. They were
made along the lines of the masculine garment, with laces on the waistband
in back, tubular legs or gathered below the knee. Drawers were different
from pantaloons or pantalets. The latter extended to below the calf and

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were decorated with rows of tucks and lace, with the lower part meant to be
seen. This so offended the attitude of prudery that they did not survive after

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1830, except for children.
By the end of the 1830s wearing of drawers as an undergarment, was
accepted by women of social pretension. They were not to be worn by the
lower classes. The French habit of wearing pantaloons under the riding habit
became a general practice too. In England, adults in society seldom wore the
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ankle-length pantaloons.
By 1857, drawers could be bordered with frills, and coloured flannel
knickerbockers were popular during winter. These were gathered just below
the knee with elastic. This style continued until 1868 when five or six rows
of tucks and an edging of lace were added. Silk or flannels were the typical
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fabrics used. With tight dresses, the garment should barely reach the knee
and have a trimming of torchon or insertion with a frill while some preferred
drawers of chamois leather.
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Pantalettes gave way to knickers, sometimes called culottes, by 1909-1918.

They were fastened with elastic at the waist and knee. By 1914 knickers
were shortened to panties, and were well above the knee by 1927. They
became trunks in 1930, and finally pantie-briefs for sportswear by the end
of the 1930s.
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The bikini was invented in 1946 and named after the Bikini Atoll in the
Marshall Islands, the site of atomic bomb testing. The inventors were two
Frenchmen, Jacques Heim and Louis Reard. Of course, Heim and Reard
didn't create the idea of the bikini. Drawings of bikini-like suits have been
found on wall paintings dating back to 1600 BC. Heim and Reard first used
the modern term bikini for a particular bathing suit design. Heim was a
couturier designer from Cannes, France, who had designed a very small
bathing suit called the Atome (French for atom). He hired a skywriting plane
to advertise his design by skywriting Atome - the world's smallest bathing
suit. Three weeks later, Reard, a mechanical engineer, had another
skywriting plane write bikini - smaller than the smallest bathing suit in the
world.
Figure 4.7 illustrates the transformation of drawers what they are today.

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Knickers Culottes Panties

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Sports Briefs Pantie Briefs

Figure 4.7: Drawers from the Beginning
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Activity 1.1: History of women’s underwear

Write a detailed history about the underwear worn by modern-day women, tracing their
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roots from the ancient times.

Refer to Sections 4.1 to 4.3 to do this activity.

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 Session 4: History of Women’s Undergarment

Summary

In ancient times, women would wear what can only be described as a bosom
supporter. Drawings have been found showing women with their naked
chests. Up to the second millennium, the Egyptians were dressed in a smock
that left the breasts uncovered and put an emphasis on them.
Greek women wore a laced corsage below the breasts keeping the chest
naked. Roman ladies wore mamillare, fascia, capitium and toenia. Young
girls wore the fascia to hinder the growth of the breasts. The mamillare
served in getting rid of large breasts. While the strophium, simply supported
the breasts.
No one knows exactly when the petticoat was first worn. The same word is
used in contemporary reference for both the underskirt and the outer-skirt,

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which was separate from the bodice. Unlike the chemise, it was a separate
skirt-type garment that hung from the waist. The practice of wearing the

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petticoat was well established by 1585.
A woman named Marie Tucek patented the first brassiere in 1893. This
breast supporter looked very similar to the modern brassiere. The device
included separate pockets for the breasts, straps that went over the shoulder
which were fastened by hook-and-eye closures. Mary Phelps Jacobs
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patented the brassiere on November 3, 1914.
The years 1791-1820 were war years and as such caused a revolution in
clothing styles. Underwear was simplified, and under-drawers were
introduced. Women’s drawers came into fashion around 1806. They were
made along the lines of the masculine garment, with laces on the waistband
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in back, tubular legs or gathered below the knee.

Pantalettes gave way to knickers, sometimes called culottes, by 1909-1918.
They were fastened with elastic at the waist and knee. By 1914 knickers
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were shortened to panties, and were well above the knee by 1927. They
became trunks in 1930, and finally pantie-briefs for sportswear by the end of
the 1930s.
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Objectives

You should now be able to:

1. Explain the underwear worn by women in ancient times, (Section 4.1,
Activity 1.1).

2. Explain the underwear worn by women in the middle-ages, (Section 4.2,

Activity 1.1).

3. Explain the history of modern underwear worn by women from ancient

times, (Section 4.3, Activity 1.1).

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