AN INVESTIGATION of BREAST SUPPORT for OLDER WOMEN by Deborah Judith Risius the Thesis Is Submitted in Partial Fulfilment Of

Total Page:16

File Type:pdf, Size:1020Kb

AN INVESTIGATION of BREAST SUPPORT for OLDER WOMEN by Deborah Judith Risius the Thesis Is Submitted in Partial Fulfilment Of AN INVESTIGATION OF BREAST SUPPORT FOR OLDER WOMEN By Deborah Judith Risius The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth December 2012 Abstract Profound changes occur within the female breast with increasing age; glandular atrophy, increased skin laxity and stretched Cooper‟s ligaments cause an inferior lateral migration of the breast tissue. However, the current lingerie market predominantly revolves around bras designed for younger women that older women may feel are inappropriate for their physique. Literature regarding age- appropriate clothing has postulated that bras should be designed based on specific shapes, populations and usages. Yet the bra preferences of older women have been neglected in the literature. By determining women‟s requirements, the performance of current bras may be ascertained, and subsequent alterations may be recommended for bra design in order to optimise bras for older women if required. The aims of the current thesis were to: provide a wider understanding of the bra requirements of women aged 45 to 65 years, determine the key bra performance variables for this population, develop procedures to assess these variables and to determine the current appropriateness of a small sample of bras for this population. To achieve the research aims the thesis contained five studies. The first study was exploratory in nature, using focus groups and interviews to develop a knowledge base on the bra preferences of women aged 45 to 65 years. A survey was subsequently designed and implemented to determine the key bra performance variables among a wider sample of the population. The results of these studies identify the general dimensions that women consider when purchasing a bra (comfort, support, aesthetics, practicalities, and psychological aspects). From these dimensions, 11 key bra performance variables that are of importance to older women were derived (comfort, support, bra‟s ability to stay in place, appearance under clothes, silhouette, breast shape, breast lift, shoulder straps, discreetness, fabric and fit). Methods to quantify the key bra performance variables were required to assess the performance of current bras for older women. The third experimental study developed methods which minimised the limitations of existing procedures, and determined the validity and reliability of these methods. As a result of this study, methods to assess the 11 key bra i performance variables were deemed acceptable for both objective and subjective measures. In the fourth study, two bras were selected from a popular and unpopular brand; the performance of these bras was assessed with regard to the 11 key bra performance variables. The results indicate that women aged 45 to 65 years preferred a bra that minimises breast kinematics, provides greater breast projection and lifts the breast sufficiently. Although differences lay between the bare breasted and bra conditions, the two bras performed similarly despite the difference in popularity. The final study incorporated a four week wearer trial to elucidate any changes in performance that may appear with increased usage. Subjective ratings of breast support and the bras‟ ability to stay in place were lower following the wearer trial. The bras tested performed well for the bra variables; comfort, fit, support and shoulder strap position. However, the remaining key bra performance variables may require alteration to ensure their appropriateness for women aged 45 to 65 years. It is concluded that women aged 45 to 65 years are generally cognisant of changes to their breasts as they age, subsequently seeking bras that are different from those they previously would have worn. The findings of this thesis suggest that alterations in bra design are required to optimise bras for older women. ii Declaration Whilst registered as a candidate for the degree of doctor of philosophy, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. iii Dissemination Risius, D., Thelwell, R., Wagstaff, C., & Scurr, J. (2012) Influential factors of bra purchasing in older women. Journal of Fashion Marketing and Management, 16 (3), 366-380. Risius, D., Milligan, A., Ayres, B., & Scurr, J. (2011). An investigation of the relationship between breast kinematics and subjective ratings of breast support during treadmill activity. In M. Sellens, G. Sandercock, M. Taylor, & D. Mickelwright (eds.), Proceedings of the BASES Annual Conference (pp. S51). September 2011, Essex, UK. Risius, D., Milligan, A., & Scurr, J. (2012). Biomechanical breast support requirements for younger and older women during walking. Presented at the Helal and Harries Prize and Olympics Meeting. Royal Society of Medicine. London, Friday 21st September 2012. Risius, D., & Scurr, J. (2012). A method to assess bra slippage during everyday activity. Presented at the University of Chichester/University of Portsmouth Sport & Exercise Sciences Postgraduate Research Conference. University of Chichester, Monday 18th June 2012. Risius, D., Thelwell, R., & Scurr, J. (2010). Brassiere requirements of the ageing breast. Presented at the Health Development Forum Showcase, University of Portsmouth, Friday 5th November 2010. iv Acknowledgements It is a pleasure to thank the following people, without whom the completion of this thesis would not have been possible. First and foremost, my doctoral supervisor Dr Joanna Scurr, for her continued support, guidance and enthusiasm during my time as a PhD student. To Dr Richard Thelwell and Dr Chris Wagstaff for their critical eye and qualitative expertise throughout. To Dave and Wendy for their excellent technical support in experimental work. To all members of the Research Group in Breast Health, all past and present researchers and all DSES staff members, of which there are too many to name individually. To Jenny and Alex, for their emotional support, camaraderie and entertainment throughout. I am very grateful to have had you both with me over the past few years. To all participants, for volunteering their time and modesty to take part. I am grateful to Playtex for funding the initial two years of this programme of work, and to the British Foundation of Women Graduates for their Foundation Grant award in 2011. Finally, to my sister, Eleanor, for setting the bar high, and to my parents, Andrew and Francesca, who have supported my every academic decision. I dedicate this thesis to you. v Table of Contents Abstract ................................................................................................................... i Declaration ............................................................................................................. iii Dissemination ....................................................................................................... iv Acknowledgements ................................................................................................ v Table of Contents .................................................................................................. vi List of Figures ....................................................................................................... xii List of Tables........................................................................................................ xvi Chapter 1. Introduction .......................................................................................... 1 1.1 Aims of thesis ................................................................................................... 3 1.2 Thesis summary ............................................................................................... 3 Chapter 2. Review of Literature ............................................................................. 7 2.1 Anatomy of the breast ...................................................................................... 7 2.1.1 The skin ................................................................................................... 8 2.1.2 The corpus mammae ............................................................................... 9 2.1.3 The subcutaneous tissue of the breast .................................................. 10 2.1.4 Breast size ............................................................................................. 11 2.1.5 Hormone Replacement Therapy (HRT) .................................................. 12 2.1.6 Mastalgia ................................................................................................. 12 2.1.7 Biomechanical support ............................................................................ 13 2.2 Psychological effects of ageing ...................................................................... 14 2.3 Brassieres ...................................................................................................... 15 2.3.1 The structure of brassieres ..................................................................... 15 2.3.2 Correctly fitting brassieres ....................................................................... 15 2.4 Brassieres for Women aged 45 to 65 years ................................................... 17 2.5 Summary........................................................................................................ 20 Chapter 3. An exploratory investigation of
Recommended publications
  • Exercise and Breast Support
    For further information For further information see the Sports Bra Fitness booklet available at http://www.uow.edu.au/health/brl/ sportsbra/index.html References 1 McGhee DE, Steele JR & Munro BJ. (2010). Education improves bra knowledge and !t, and Exercise and level of breast support in adolescent female athletes: A cluster-randomised trial. Journal of Physiotherapy. 56(1), 19–24. 2 McGhee DE & Steele JR. (2010). Optimising breast support in female patients through correct breast support bra !t: A cross-sectional study. Journal of Science and Medicine in Sport. 13(6), 568–572. 3 Greenbaum AR, Heslop T, Morris J, Dunn KW. (2003). An investigation of the suitability of bra !t A guide to understanding breast support in women referred for reduction mammaplasty. British Journal of Plastic Surgery. 56(3), 230–236. 4 Mason BR, Page KA, Fallon K. (1999). An analysis of movement and discomfort of the female during physical activity and how breast during exercise and the e"ects of breast support in three cases. Journal of Science and to determine correct bra fit Medicine in Sport. 2(2), 134–144. 5 Robbins LB, Pender NJ, Kazanis AS. (2003). Barriers to physical activity perceived by adolescent girls. Journal of Midwifery and Women’s Health. 48(3), 206–212. 6 McGhee DE, Steele JR & Munro BJ. (2008). Sports Bra Fitness. Wollongong NSW: Breast Research Australia (BRA), Biomechanics Research Laboratory, University of Wollongong: ISBN 9781741281552. Acknowledgements IMB Community Foundation New South Wales Sporting Injury Committee Prepared by DE McGhee & JR Steele, Breast Research Australia, University of Wollongong Photography by Sean Maguire Always consult a trained professional The information in this resource is general in nature and is only intended to provide a summary of the subject matter covered.
    [Show full text]
  • Volume 2, Issue 3, Autumn 2018
    The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit.
    [Show full text]
  • Intimately Yours Summer 2019
    REVEALED INTIMATELY YOURS A SOURCE OF LOVE, LINGERIE + PASSION SUMMER 2019 1 | REVEALED REVEALED, THE NEW MAGA- ZINE CREATED BY CURVEN- EWYORK TO: REVEAL THE INS AND OUTS OF THE EVER-CHANGING IN- TIMATE APPAREL INDUSTRY. UNCOVER THE DESIRES OF THE CONSUMER. DISCOVER THE IN- NOVATIONS IN DESIGN, TREND AND PRODUCTION. SHOW OFF THE IMPROVEMENTS OF IN- CLUSIVITY IN THE INDUSTRY. TEACH THE IMPORTANCE OF THE PERFECT FITTING BRA. EL- EVATE KEY INTIMATE APPAR- EL BRANDS AND RETAILERS DRIVING THE INDUSTRY. CEL- EBRATE THE BEAUTY OF INTI- MATE APPAREL IN ALL FORMS. WATCH THE UP AND COMING BRANDS THAT PROVIDE INNO- VATIVE PRODUCTS. PROVOKE THOUGHT ON A WORLD THAT’S CHANGING AND EVOLVING. LEAD THE INDUSTRY BY PRO- VIDING INFORMATION RELE- MAISON LEJABY 2 | REVEALED ForEWord REVEALED, THE NEW MAGAZINE CREATED BY CURVE TO: REVEAL the ins and outs of the ever-changing intimate apparel industry. UNCOVER the desires of the consumer. DISCOVER new innovations in design, trend and production. SHOW OFF the improvements of inclusivity in the industry. TEACH the importance of the perfect fitting bra.ELEVATE key intimate apparel brands and retailers driving the industry. CELEBRATE the beauty of intimate apparel in all forms. WATCH the up- and-coming brands that provide innovative products. PROVOKE thought in a world that’s changing and evolving. LEAD the industry by providing information relevant for all. And finally,SHARE with you our PASSION, for LINGERIE, FASHION, and DESIGN! Table of ContentS 8 Intimate Apparel Market Trends and Strategies 10 5 Favorite Intimate Apparel Trends 12 Intimate Apparel Brands to Watch 14 The Rack Shack: All-Inclusive Bra Boutique 16 Living Coral 18 Up and Coming: Evelyn + Bobbie 20 Swimwear Trends 22 Swim Brands to Watch 24 Chantelle: 2019 Designer of the Year 26 Interview with Renaud Cambuzet – CCO at CL 28 Intimate Brands Excelling in Bodysuits 30 Want to show off your intimates? 34 Intimates Collab with RTW 36 Styling + Lingerie 39 Interview with Vanessa Crausse – Trend Forecaster 40 Minimalism v.
    [Show full text]
  • The Evolution of Brassiere in the 20Th Century
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 12-10-2012 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Journalism Studies Commons Recommended Citation Khor, Jolene, "The Evolution of Brassiere in the 20th Century" (2012). Honors Theses. 2342. https://scholarworks.wmich.edu/honors_theses/2342 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Running Head: The Evolution of Brassiere in the 20th Century 1 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University The Evolution of Brassiere in the 20th Century 2 Abstract It is common knowledge that a brassiere, more widely known as a bra, is an important if not a vital part of a modern woman’s wardrobe today. In the 21st century, a brassiere is no more worn for function as it is for fashion. In order to understand the evolution of function to fashion of a brassiere, it is necessary to account for its historical journey from the beginning to where it is today. This thesis paper, titled The Evolution of Brassiere in the 20th Century will explore the history of brassiere in the last 100 years. While the paper will briefly discuss the pre-birth of the brassiere during Minoan times, French Revolution and early feminist movements, it will largely focus on historical accounts after the 1900s.
    [Show full text]
  • Depictions of Empowerment? How Indian Women Are Represented in Vogue India and India Today Woman a PROJECT SUBMITTED to the FACU
    Depictions of Empowerment? How Indian Women Are Represented in Vogue India and India Today Woman A PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Monica Singh IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF LIBERAL STUDIES August 2016 © Monica Singh, 2016 Contents ILLUSTRATIONS........................................................................................................................ ii INTRODUCTION......................................................................................................................... 1 CHAPTER 1 .................................................................................................................................. 5 CHAPTER 2 ................................................................................................................................ 19 CHAPTER 3 ................................................................................................................................ 28 CHAPTER 4 ................................................................................................................................ 36 CHAPTER 5 ................................................................................................................................ 53 CHAPTER 6 ................................................................................................................................ 60 REFLECTION FOR ACTION.................................................................................................
    [Show full text]
  • WO 2017/096075 Al 8 June 2017 (08.06.2017) P O P C T
    (12) INTERNATIONAL APPLICATION PUBLISHED UNDER THE PATENT COOPERATION TREATY (PCT) (19) World Intellectual Property Organization International Bureau (10) International Publication Number (43) International Publication Date WO 2017/096075 Al 8 June 2017 (08.06.2017) P O P C T (51) International Patent Classification: BZ, CA, CH, CL, CN, CO, CR, CU, CZ, DE, DJ, DK, DM, A41C 3/00 (2006.01) A41C 3/12 (2006.01) DO, DZ, EC, EE, EG, ES, FI, GB, GD, GE, GH, GM, GT, HN, HR, HU, ID, IL, IN, IR, IS, JP, KE, KG, KN, KP, KR, (21) International Application Number: KW, KZ, LA, LC, LK, LR, LS, LU, LY, MA, MD, ME, PCT/US20 16/064471 MG, MK, MN, MW, MX, MY, MZ, NA, NG, NI, NO, NZ, (22) International Filing Date: OM, PA, PE, PG, PH, PL, PT, QA, RO, RS, RU, RW, SA, 1 December 2016 (01 .12.2016) SC, SD, SE, SG, SK, SL, SM, ST, SV, SY, TH, TJ, TM, TN, TR, TT, TZ, UA, UG, US, UZ, VC, VN, ZA, ZM, (25) Filing Language: English ZW. (26) Publication Language: English (84) Designated States (unless otherwise indicated, for every (30) Priority Data: kind of regional protection available): ARIPO (BW, GH, 14/957,420 2 December 2015 (02. 12.2015) US GM, KE, LR, LS, MW, MZ, NA, RW, SD, SL, ST, SZ, TZ, UG, ZM, ZW), Eurasian (AM, AZ, BY, KG, KZ, RU, (72) Inventor; and TJ, TM), European (AL, AT, BE, BG, CH, CY, CZ, DE, (71) Applicant : BRAVERMAN, Laurie [US/US]; 200 West DK, EE, ES, FI, FR, GB, GR, HR, HU, IE, IS, IT, LT, LU, 72nd Street, New York, New York 10023 (US).
    [Show full text]
  • Bra Fit Solutions Glossary.....P3-6 Fitting Tips Glossary
    Fitting.........p1-2. Tips.............p2 Bra Fit Solutions Glossary.....p3-6 Fitting.....Tips.....Glossary Bra Fit Solutions What is the advantage of an underwire? Underwires help relieve shoulder stress from bra straps by adding support below the breast. Underwires also provide shaping for an attractive lift and look. Does your bust spill out over the top of your bra or bulge under the cups? If so, your bra cups are too small; go up one cup size (but be sure to keep the same band size). Do you have wrinkles in your cups at the top or sides? Then your bust is not filling out the cup properly; try a smaller cup size. Does the back of your bra ride up higher than the front? If so, your band is too loose, you should tighten the band and loosen the straps. If that doesn’t help, you should try a smaller band size. Remember the lower the back of the bra fits, the more support you get. How do you prevent your bust line from sagging? Try shortening the straps; if your bust line still sags you may need a smaller cup size or try a firm support style with rigid straps. What if one of my breasts is larger than the other? This is a common problem among women. Always fit the larger breast. Choose styles with stretch fabric in the cups or padded cups. You can also adjust the strap of the larger breast looser than the strap of the smaller breast How often should you be fitted for a bra? You should be fit for a bra at least once a year.
    [Show full text]
  • Winter 2019 / Modbyparfait / Modbyparfait / Modbyparfait / Modbyparfait / Modbyparfait 23
    AVAILABLE SIZING FROM 32-42 BANDS, A-F CUPS AND XS-3XL BOTTOMS AUTUMN | WINTER 2019 AW 19 COLLECTION mod collection MOD by Parfait, sister brand to global lingerie leader Parfait, continues to solidify its stance in the trend-driven, millennial lingerie category with the release of its / MODBYPARFAIT Autumn-Winter 2019 Collection. The modern femininity. Heading south to wanderlust-inspired season takes us on a whirlwind tour from New York to Miami we see a featherlight collection / MODBYPARFAIT Miami, London to Paris, presenting of unlined, wire-free bralettes (Bandeau and Triangle), alongside a cheeky four new collections alongside / MODBYPARFAIT existing best-sellers. Innovative Boyleg perfect for all day (and night) silhouettes, elegant embellishments, wear, the collection is offered in Blossom featherlight fabrications and more or Black. Slip into London across the / MODBYPARFAIT all underscore a theme of modern pond, whose Padded Bra, Unlined Wire romance. MOD by Parfait covers an Plunge Bra and Hipster are fabricated / MODBYPARFAIT expansive size range of A-G cup, from the softest stretch mesh with a 32–44 bands and XS–4XL bottoms, subtle geo-print. Choose from pretty hitting retailers around the globe Porcelain or under-drawer staple Black. beginning late July 2019. Finally in Paris, romance is kicked up a The AW19 season kicks off in New York, notch with flirty ruffle trim, sheer mesh featuring a Unlined Longline Bra and panels and caberet-inspired piping Hipster offered in Porcelain, Racing Red seen throughout the 5-piece collection. and Black. Subtle tulle trim, vintage- A new, streamlined Babydoll alongside inspired buttons and minimalist floral a Plunge Padded Bra, Unlined Wire lace provide the perfect blend of Demi Bra, Hipster and High-Waist Thong come available in Ivory, Black or Moulin Rouge-ready Deep Cherry.
    [Show full text]
  • 34 Underlines
    SHAPING TODAY & TOMOROW UNDERLINES ONCE AGAIN TAKES AN INDEPTH LOOK AT THE SUPPLY AND DEMAND CHAIN FOR SHAPING GARMENTS, PARTICULARLY HOW THE MARKET HAS EVOLVED IN THE LAST 12 MONTHS, BY TALKING SIMULTANEOUSLY TO RETAILERS (BOTH LARGE AND SMALL CHAINS AND INDEPENDENT SHOPS*) AND TO LARGE ESTABLISHED SHAPEWEAR PRODUCERS AND NEW BRANDS EMERGING IN THE MARKET. HERE WE REVEAL OUR FINDINGS AND THEY PRODUCE SOME INTERESTING INDICATORS FOR THE FUTURE OF SHAPEWEAR SECTOR. 20% of our respondents this year were large stores or small chains with the 80% balance being represented by specialists and independent shops. Over 50% of all those interviewed have been selling shapewear in some form for over 15 years. However the number of brands represented (even in larger stores) is more restricted than in previous years: 50% sold up to 3 brands with 50% selling between 4-6 brands. WHICH FUNCTIONAL SHAPING UNDERWEAR BRANDS ARE YOUR BESTSELLERS? BRAND NAME % INDICATED AS BESTSELLER MIRACLESUIT 32% SPANX 24% BODYWRAP 16% ELOMI/FANTASIE 12% MAIDENFORM 10% BODYWRAP 10% NAOMI & NICOLE 6% TRIUMPH 6% CONTOURELLE/FELINA 4% CETTE SLIMSHAPERS 2% Note: figures do not equal 100% as respondents could identify more than one bestseller In common with the last 4-5 years American functional brands of shapewear take the top slots. Yummie Cameo high waisted shaping briefs 34 underlines WHICH FASHIONABLE SHAPING UNDERWEAR BRANDS ARE YOUR BESTSELLERS? BRAND NAME % INDICATED AS BESTSELLER PRIMADONNA/VAN DE VELDE 10% IMPLICITE 8% WACOAL 6% PASSIONATA/CHANTELLE 6% WOLFORD 2% 38% of those surveyed said they did not believe they sold shapewear which could be regarded as fashionable.
    [Show full text]
  • Victoria's Secret As a Do-It-Yourself Guide Lexie Kite University of Utah
    Running Head: VS as a Do‐It‐Yourself Guide 1 From Objectification to Self-Subjectification: Victoria’s Secret as a Do-It-Yourself Guide Lexie Kite University of Utah Third-Year Doctoral Student Department of Communication 1 Running Head: VS as a Do‐It‐Yourself Guide 2 In the U.S. and now across the world, a multi-billion-dollar corporation has been fighting a tough battle for female empowerment since 1963, and according to their unmatched commercial success, women appear to be quite literally buying what this ubiquitous franchise is selling. Holding tight to a mission statement that stands first and foremost to “empower women,” and a slogan stating the brand is one to “Inspire, Empower and Indulge,” the franchise “helps customers to feel sexy, bold and powerful” (limitedbrands.com, 2010). This is being accomplished through the distribution of 400 million catalogs to homes each year, a constant array of television commercials all hours of the day, a CBS primetime show viewed by 100 million, and 1,500 mall storefront displays in the U.S. alone (VS Annual Report, 2009). And to the tune of 5 billion dollars every year, women are buying into the envelope-pushing “empowerment” sold by Victoria’s Secret, the nation’s premiere lingerie retailer. Due to Victoria’s Secret’s ubiquitous media presence and radical transformation from a modest, Victorian-era boutique to a sexed-up pop-culture phenomenon in the last decade, a critical reading of VS’s media texts is highly warranted. Having been almost completely ignored in academia, particularly in the last 15 years as the company has morphed from a place for men to shop for women to a women-only club (Juffer, 1996, p.
    [Show full text]
  • Changes in Female Body Shape and Its Effect on the Intimate Apparel Industry
    Changes in Female Body Shape and its effect on the Intimate Apparel Industry Abstract With the well-documented changes in women’s body mass index, the future consequences on intimate apparel fashion design cannot be ignored. The theories of fashion may be complex and diverse, but the rapidly increasing average weight of the wealthy western woman may force the return to a curvy fashionable female shape, and since mildly overweight people live longer than those who are too thin, they have more time to enjoy their wardrobe. Recent size surveys in the UK and America have identified body shapes that do not match intimate apparel manufacturer’s block patterns or size charts, thus substantially reducing sales and customer satisfaction. Linking closely to this increased and reshaped body size, is the comfort factor. A trim figure type does not require the engineered fit of her plus sized sister and is unlikely to suffer the abrasive, posture-disturbing outcome of intimate apparel designed to reproduce a fashionable silhouette. Reproduction corsets have run their course so it becomes the task of new technology to offer a pathway between fashion, comfort and shape. The massive worldwide success of the molded cup bra is a fitting example. It does not relate to any fashion theory, aside from its seamless outline, it is a great camouflage device for every woman. It disguises asymmetric body shapes, smoothes fullness or encourages the ego and provides the best business corporate shape. It will be this type of ‘need to wear’ fashion design that will promote the extension of seamless, fused, smart fabric constructions into the new 21st century underwear and performance shapewear.
    [Show full text]
  • It's All in the Details: Making an Early 19Th Century Ball Gown by Hope Greenberg
    It's All in the Details: Making an early 19th Century Ball Gown By Hope Greenberg In 1775, the year of Jane Austen’s birth, women wore gowns with a fitted bodice, the waist at or below the natural waistline, and full skirts over a visible, often ornate, petticoat. They were made in a variety of heavy silks, cotton or wool. By the time she had reached her late teens the ornate gowns were being replaced by simple, lightweight, often sheer cotton or silk gowns that reflected the ideals of classicism. This guide provides images and details to consider when creating an early 19th century ballgown. The examples provide a general guide, not an exact historic timeline. Fashion is flexible: styles evolve and are adopted at a different pace depending on the wearer's age, location, and economic or social status. These examples focus on evening or ball gowns. Day dresses, walking dresses, and carriage dresses, while following the same basic silhouettes, have their own particular design details. Even evening gowns or opera gowns can usually be distinguished from ball gowns which, after all, must be designed for dancing! By focusing on the details we can see both the evolution of fashion for this period and how best to re-create it. What is the cut of the bodice, the sleeve length, or the height of the bustline? How full is the skirt, and where is that fullness? What colors are used? What type of fabric? Is there trim? If so, how much, what kind, and where is it placed? Based on the shape of the gown, what can we tell about the foundation garments? Paying attention to all these details will help you create a gown that is historically informed as well as beautiful.
    [Show full text]