The Bullet Bra: To the point history into the brassiere a vintage sirens lingerie staple

 http://sailorsandsirensvintageblog.blogspot.pt/2013/05/the-bullet-bra-to-point-history-into.html

 

 

Wednesday, 1 May 2013

The Bullet Bra: To the point history into the brassiere a vintage sirens lingerie staple

After the world war 1 corsetry in America was deemed unpractical and uneconomical. Within the 1920's corsets became shorter and provided less support for the bust, therefore creating a whole seperate garment purely to support the breasts. The 1920's saw a fashion of the flapper. A look that endorsed the more streamline, boyish silhouette. Curves where not deemed fashionable. The brassier at the time was just light support bandeaux style thats purpose was to flatten the breasts. A socialite of New York city approx 1913 was a huge influence for women by creating a bandaux bra by tying two hankicheifs together with ribbon. 

above: A slightly earlier example of a brassier: 1893 worn with a corset

Russian imagrant  Ida Rosenthal, A New York Seamstress worked along side husband and boutique owber Enid Bisett. They discovered a break through with womens Bras and this was that not all women would fit in the same bra size and invested their business into crateing brassiers for all ages and sizes of women. Their business titled Maiden form was a deliberate ironic contrast to the androgynous silhouette. Their aim was to turn the bandeaux into a more structured bra that would flatter a womens shape whilst creating support under their clothes. 

Ida Rosenthal: A Seamstress, entrapaneur and Break through influence on womens bra's in 1928 New York. co owner of Maiden Form. image credit:www.ottawacitizenstyle.com 

below: Maiden form patented design

The 1930's was a break through decade for brassier technology. The term bra was used more often by the younger population of girls. 

Within the 1930's a company S.H Camp and company created the alphabet coding for bra sizes. ie. A, B , C &D. several companys took on this formuler towards the end of the 1930's. The 1930's introduced the waist band with the adjustable hook and eye features in the 1930's. Also the technology with materials opened lots more doors for choice in fabric, elastication, patterns and colours.   For the flatter chested women, bras could now be designed with some padding to enhance their bust and cleavage. The lingerie industry became a fast growing and profitable industry within the US. Major cities sold ranges in department stores. 

Jane Russell 

The pointed bust became extremely popular throughout the 1940's. Hollywood glamorised this look, and pin up girls aka "sweater girls"  and young starlets such as  Marilyn Monroe, posed in their tight fitted knit sweaters with their structured and pointed assets. The second world war in fact influenced many of womens beauty products, and where created in relation to the war. The Bullet bra also known as the torpedo bra was a reaction from the war. The look was to create for womens bust to be more conical and pointed in shape for an exagerated, wholesome and veluptuous apperance.  Jane Russel was famed for her assets and like the scene in The Aviator, inventor Howard Hughs was a huge fan of her and the technology behind the bra. The 1940's saw underwired bra come into fruition, hence the bra was becoming more architectural in design. In the 1950's, the conical bullet bra was still highly popular and still was glamourised by huge hollywood stars such as Marilyn Monroe, Diana Dors andLana Turner. etc. The list goes on. Bras of this kind where advertised frequently in womens fashion and lifestyle magazines. The Bullet bra could also be a fetishized look, as seen worn in black  by the queen of fetish pin up's 'Bettie Page'. The 1950's also saw the bullet bra have spiral top titching and insertable cups for women to go up a cup size if desired. 

above: publicity shot for lingerie brand and bullet bra designer 'Maiden form' 1950's

The fashion industry of the 1990's saw Madonna wear Jean Paul Gaultiers creation of the cone/bullet bra for her Blonde Ambition tour. Although extremely exagerated where JPG designs, its evident he was inspired bu the vintage classic. Keeping with pretty peach silks and the top stitching. He incooperated the bullet bra into a corset body suit. He approaches this look for almost every collection he creates to this day. A more recent design, is a full body corset dress worn by Dita Von Teese in powder blue silk. 

Authentic reproductions where revived by What Katie did, especially the bullet bra starting with their 'Maitresse' bra. Other Vintage influenced brands such as 'Kiss Me Deadly' create pretty vintage looking collections with a modern twist.  Dita Von Teese successful  collection called Von Follies have beautiful examples of top stitching brassiers similar to the torpedo bra whilst of course catering to the modern women.

Over the past years I have noticed a re-birth of Bra's with top stitching details found in Marks and Spencer's with a range of colour pallettes featuring nudes, pinks and creams for their limited edition vintage collections. They seem to re-approach this idea of the vintage revival.  I have also seen the likes of designers Stella McCartney and La Perla create beautiful vintage inspired bras. Brands from the 1930's are still thriving with the likes of Gossard and Triumph. 

(above) The Met Museum collection

(above) Dita Von Teese Models in a Bettie Page style shoot weraing a bullet bra, garter belt girdle, high waist briefs and fully fashioned stockings by Photographer Chas Ray Krider

(above) Triumph Lingerie 

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PART FOUR: THE SON OF THE revenge of the RETURN OF a selfie modulated by the obtrusive ruses of perception AND THAT THEREFORE can only be considered an ersatz of the ultimate ego trip

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Previously on "... the ersatz":

http://galeriavantag.blogspot.pt/2016/06/part-three-revenge-of-return-of-selfie.html

http://galeriavantag.blogspot.pt/2016/06/part-two-return-of-selfie-modulated-by.html

http://galeriavantag.blogspot.pt/2016/06/a-selfie-modulated-by-obtrusive-ruses.html



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PART Three: THE revenge of the RETURN OF a selfie modulated by the obtrusive ruses of perception AND THAT THEREFORE can only be considered an ersatz of the ultimate ego trip

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http://www.nytimes.com/2016/06/21/t-magazine/art/consortium-dijon-wade-guyton-laure-prouvost.html?action=click&contentCollection=T%20Magazine&pgtype=imageslideshow&module=RelatedArticleList&region=CaptionArea&version=SlideCard-10

Borowitz Report

British Lose Right to Claim That Americans Are Dumber

By Andy Borowitz

, 10:37 A.M.

Photograph by Jack Taylor / Getty

LONDON (The Borowitz Report)—Across the United Kingdom on Friday, Britons mourned their long-cherished right to claim that Americans were significantly dumber than they are.

Luxuriating in the superiority of their intellect over Americans’ has long been a favorite pastime in Britain, surpassing in popularity such games as cricket, darts, and snooker.

But, according to Alistair Dorrinson, a pub owner in North London, British voters have done irreparable damage to the “most enjoyable sport this nation has ever known: namely, treating Americans like idiots.”

“When our countrymen cast their votes yesterday, they didn’t realize they were destroying the most precious leisure activity this nation has ever known,” he said. “Wankers.”

In the face of this startling display of national idiocy, Dorrinson still mustered some of the resilience for which the British people are known. “This is a dark day,” he said. “But I hold out hope that, come November, Americans could become dumber than us once more.”

Andy Borowitz is a New York Times best-selling author and a comedian who has written for The New Yorker since 1998. He writes the Borowitz Report for newyorker.com.

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Watch: Bob Mankoff looks at Trump-themed cartoons and meets with cartoonists submitting work for publication in the magazine.

More From the New Yorker

Borowitz Report || British Lose Right to Claim That Americans Are Dumber

Borowitz Repo

Borowitz Report

British Lose Right to Claim That Americans Are Dumber

By Andy Borowitz

, 10:37 A.M

Photograph by Jack Taylor / Getty

LONDON (The Borowitz Report)—Across the United Kingdom on Friday, Britons mourned their long-cherished right to claim that Americans were significantly dumber than they are.

Luxuriating in the superiority of their intellect over Americans’ has long been a favorite pastime in Britain, surpassing in popularity such games as cricket, darts, and snooker.

But, according to Alistair Dorrinson, a pub owner in North London, British voters have done irreparable damage to the “most enjoyable sport this nation has ever known: namely, treating Americans like idiots.”

“When our countrymen cast their votes yesterday, they didn’t realize they were destroying the most precious leisure activity this nation has ever known,” he said. “Wankers.”

In the face of this startling display of national idiocy, Dorrinson still mustered some of the resilience for which the British people are known. “This is a dark day,” he said. “But I hold out hope that, come November, Americans could become dumber than us once more.”

Andy Borowitz is a New York Times best-selling author and a comedian who has written for The New Yorker since 1998. He writes the Borowitz Report for newyorker.com.

• More

Watch: Bob Mankoff looks at Trump-themed cartoons and meets with cartoonists submitting work for publication in the magazine.

In Its New Bowery Home, the International Center of Photography Strives to Stay Relevant

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Reviews

In Its New Bowery Home, the International Center of Photography Strives to Stay Relevant in the Digital Age, With Mixed Results

By Alex Greenberger Posted 06/22/16 11:37 am

 91  31  0  124

ICP’s new home, at 250 Bowery in Manhattan.

©SAUL METNICK

As it opens its doors again, after moving from Midtown Manhattan to the Bowery, the International Center of Photography should consider changing its name. Its first show is “Private, Public, Secret,” a frenetic exhibition that opens with videos by Doug Rickard, Martine Syms, Jon Rafman, and Natalie Bookchin. Yes, that’s right—four videos, all playing simultaneously, like ads in Times Square. Here is a photography show where still images are equated with moving ones, where Weegee gets literally sidelined in favor of a Zach Blas video and sculpture, and where Kim Kardashian’s selfie book is juxtaposed with a Cindy Sherman photograph. Just what, exactly, is going on here? “Far too much” would be my answer.
“Public, Private, Secret” signals an ICP running on new software—a museum that’s hit hard reset, and decided to reevaluate what the word photo means in the digital age. Its opening show looks at how photographic images, technology, and identity mingle today, and that sounds like it should be great. But it isn’t. It’s a tangle of barely related ideas that never gel—a show that feels, for better and for worse, like my clogged Twitter feed.
You can’t criticize the ICP for playing it safe. Here is a museum that has so dramatically changed its own formula that it feels like an entirely different institution. It’s been over a year since the ICP closed its Midtown location with a massive show of Sebastiao Salgado’s lush nature photography. Although Salgado is a contemporary photographer, his work is done in the spirit of the modernist pioneers the ICP has honored over since it opened in 1974, like Elliott Erwitt, Richard Avedon, and Gordon Parks. (The museum was founded by Robert Capa’s brother.) Many of these artists take a photojournalistic approach to daily life, asking how a camera might be able to capture the beauty and politics hidden away in cities, fashion, wars, celebrity, and art itself.

Installation view of “Public, Private, Secret,” 2016, at ICP, New York.

MAXIMILÍANO DURÓN/ARTNEWS

Based on its first show, the new ICP wants to be a cutting-edge contemporary art institution rather than a single-medium one. Gone are the soft lighting and spacious hangs of its former space. In its place are white-cube galleries, reminiscent of the interiors of its Bowery neighbor, the New Museum. (A welcome bonus of the new building: all-gender bathrooms, placing the ICP on the right side of history.) Although the new ICP is smaller than its previous space (11,000 square feet, compared to 17,000), it’s now hipper, tighter, and vaguely European, both in overall tone and artist selection.
Set across two floors and organized by ICP’s curator-in-residence, Charlotte Cotton, the inaugural show is colder and more intellectually rigorous than anything I recall seeing at the past ICP, but it’s also more intriguing. It includes some works that are so kooky and difficult that they are unlikely to appear at most New York museums. I’m thinking, in particular, of Rafman’s little masterpiece Mainsqueeze (2014), a video that appropriates various nasty clips from the Internet, among them footage of a fetishist squashing a crayfish. And this, just as a reminder, is one of the first things viewers see at the new ICP. Game on.
Head down a steep flight of stairs, and the offbeat selection of works continues. Postmodern giants like Sherman and Nan Goldin hang alongside up-and-comers like Amalia Ulman and Ann Hirsch (a sound work, among other pieces). Andy Warhol Polaroids appear alongside a Patrick McMullan face book. A 19th-century stereograph card is near Sophie Calle’s photographs. While this is all very strange and absorbing, it’s also extremely difficult to follow. With its images hung on top of images, and its reflective surfaces, and its hours and hours of video, and its paragraphs and paragraphs of wall text, the new ICP isn’t going for clarity on its first go-around.

Kim Kardashian, Selfish, 2015, slideshow, installation view.

MAXIMILÍANO DURÓN/ARTNEWS

To some extent, this all-over quality is intentional—the exhibition is meant to mirror the feeling of surfing YouTube or infinitely scrolling through Pinterest, where it isn’t humanly possible to see everything. At the same time, moving through “Public, Private, Secret” is an anxiety-inducing experience, filled to the brim with pictures, both moving and still, that ought to be presented in a more digestible way.
In fairness to Cotton, her selection of work is strong. Kate Cooper’s video RIGGED (2014), in which a computer-generated jogger runs in place and curls into fetal position, is among the best works on view here. With its plotless logic and eerie female voiceover (“Invisibility is survival,” she says, without any elaboration), it accurately evokes the feeling of being trapped online, a place where pictures of anybody can be seen by everybody, and where things stop making sense.
Nearby is Jill Magid’s Trust (2004), a video from her larger “Evidence Locker” project, for which the artist put herself in public places with the intention of being caught on video by surveillance technology. This also accurately evokes the feeling that cameras are everywhere, as does Yuri Pattison’s 1014 (2015), in which a mysterious camera glides through an apartment via some digital effect. Ultimately, Pattison’s camera lingers on a window—and a computer algorithm then analyzes what it sees.

Installation view of “Public, Private, Secret,” 2016, at ICP, New York, showing works, from left by Rashid Johnson and Vik Muniz.

MAXIMILÍANO DURÓN/ARTNEWS

The majority of the “Public, Private, Secret” makes an argument that the digital has changed photography. With Facebook, Twitter, Instagram, Snapchat, and Tumblr having become places where thousands and thousands of pictures are exchanged every day, this is a logical idea. The problem: Cotton latches onto it in a way that’s too literal. Included in her show are several feeds curated by Mark Ghuneim and various collaborators. They filter social media for concepts like “The ‘Other’ ” and “Hotness,” for which images are cribbed from Rihanna’s Twitter, among other places. In this context, the message of the feeds lack nuance: people share pictures on the Internet. That’s about as predictable as Donald Trump tweeting something insensitive tomorrow. (Awkwardly, museum visitors can’t access their own social media in the ICP’s basement, which has no cell service.)
And yet, there are parts of “Public, Private, Secret” which are more concise, more thoughtful. When it comes to surveying how photographs can construct identity, this exhibition takes a compelling approach. Nineteenth-century portraits of abolitionist and women’s-rights activist Sojourner Truth hang feet from Rashid Johnson and Vik Muniz portraits, both appropriating Frederick Douglass’s image. Opposite them is Lyle Ashton Harris’s photomontage Appunti per l’Afro-Barocco (2015), a mess of photocopied headlines, Basquiat, African masks, Malcolm X, Baroque paintings, and porn.

Lyle Ashton Harris, Appunti per l’Afro-Barocco, 2015, mixed media collage, installation view.

MAXIMILÍANO DURÓN/ARTNEWS

In all of these works, photography and blackness have an interesting push-pull effect—which constructs which? But, unfortunately, this mini-essay on blackness in digital photography comes out of an idea so big, it should be a show unto itself. As a result, it feels less like a statement than a detour—a wavelet in a disorganized sea of art.
How can we navigate this world filled with photographic images? What if we’ve lost our way? These, it seems to me, are the questions accidentally proposed by the ICP’s first show, and I wonder if they’re really entirely new ones. It’s been almost 40 years since Douglas Crimp came out with his essay “Pictures,” in which he asked similar questions to those hinted at in “Public, Private, Secret.” But the ICP show does have one major difference, and that is its interest in identity—the most clear, sophisticated theme in the crowded affair.
Identity is a very of-the-moment concern, and it’s one the ICP should consider examining in greater depth. If the ICP decides to shift its focus to the digital, this is welcome—some of the most interesting art being made right now is about technology. In a time when Twitter has been essential to the upcoming election, when all Americans, but especially those of color, live under the threat of constant surveillance, when ISIS uses social media to lure young recruits, and when selfie feminism is debated as a valid form of discourse, the digital has become politicized, and pictures have been essential to how each of these issues gets seen online. With all of these issues tied up in issues of photography, the ICP may have some rich material to explore in the future.

Copyright 2016, Art Media ARTNEWS, llc. 110 Greene Street, 2nd Fl., New York, N.Y. 10012. All rights reserved.

Article Tags

• Charlotte Cotton
• Featured
• International Center of Photography
• Jill Magid
• Jon Rafman
• Kate Cooper
• Lyle Ashton Harris
• Mark Ghuneim
• Rashid Johnson
• Vik Muniz
• Yuri Pattison
• Zach Blas

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