Group 1
The Team (From left to right) Xiangte Chen (Dean) - x.chen0620162@arts.ac.uk Mark Heah (Group Leader) - m.heah0720161@arts.ac.uk Yanwen Chen - y.chen54@arts.ac.uk Macarena Prada Leis - m.pradaleis0620161@arts.ac.uk
The Underpinning Museum
The Underpinnings Museum creates an invaluable community resource, offering an unparalleled depth of insight and fresh perspectives on the world of undergarments through the ages and across the globe. The museum is an ongoing project, constantly updating and expanding its collections. The motivating drive behind the museum is the prodigious talent of lingerie designer, writer and academic, Karolina Laskowska. With a first in BA Contour Fashion at De Montfort University and numerous awards for her design work.
Collaborative Unit
This unit is designed to provide an opportunity to innovate, explore developmental processes and to engage with collaborative working practices. We were encouraged to engage in the professional negotiation and networking skills that you will need in order to be successful in the cultural and creative industries. The emphasis of this unit is on student led collaboration, the nature of which may be within your own course, with students on other courses via an exchange or with industry. The project that you undertake will depend upon your discipline and the specific requirements of your course.
Project Description We, the participating group of project A of the collaborative project with the Underpinnings Museum will each undertake a study of an archive piece selected to represent a theme set by the museum. Following curatorial guidance in handling, we will develop an analytical study of the cut and construction of the piece/s. Specification drawing and construction methods will be produced and we will create an initial manual draft of the pattern followed by a digital copy. We will also each produce a recreation of the piece. This work will be contextualised with textile, component and industrial references.
Aim of the Project
Project Task and Goals
1. Apply a high level of critical analysis and research using appropriate methodologies on the archive collection. 2. Evidence a professional and innovative approach to research, project development and presentation. 3. Conduct a successful professional collaborative and independent work opportunity.
Outcomes/Deliverables A summarizing portfolio of work which consists of: -Specification drawings -Construction details -Manual pattern draft -Digital pattern -Toile for each archive piece -Individually written critical reflection (1,500 words)
Research -1930s Lingerie
Research -1950s Lingerie
Museum Archive Visit
The Clothworker’s Centre On the 18th of April, we as a group made a visit to the Clothworker’s Centre for the study and conservation of textiles & fashion. Each of us selected to view a garment that closely resembles our archive garment from the Underpinnings Museum and conducted an analytical and comparative study. It was a new and pleasing learning experience for all of us.
The Underpinnings Museum Selected Garment Mark Heah
1950’s Warner’s Merry Widow Corset
1954 & 1955 Advertisement of the Merry Widow Corset by Warner’s. It was designed to be worn as a shapewear to achieve an hourglass silhouette.
A corselet was released by Warner’s in 1952, named after The Merry Widow, a 1905 operetta which has been adapted several times into feature-length films. It is one of the most iconic lingerie garments of the 1950’s and was popularized by Hollywood starlets of the time. This new design featured separate cups and a shorter girdle than its predecessors. This type of lingerie is also known as a torsolette, and it is used primarily as a foundation garment, as depicted in the above advertisements to create the desired hourglass silhouette. Most of the garment is sheer except the side and back panels.
The original merry widow corselet incorporates slim panels of tulle and 4-way stretch mesh, both made of nylon. An innovative synthetic fibre of the time. It features panels of embroidered net tulle and elastic to provide a close fit which pulls in at the waist. The entire garment was lined with nylon voile. There are nine long, spiral steel bones encased in bias satin ribbon throughout which help to create the cinched waist. The cups are underwired and are made from the same tulle as the body and tiny pleated frill across the top. The back fastens with 2 rows of hooks and eyes to offer the best individual fit. There are 2 suspenders at the front and 2 at the back, all of which are removable and adjustable. Each clip is covered with black satin ribbon.
Observation
The corset has 9 pieces of very flexible spiral steel boning 5mm wide. They are sewn on the seams between each panel and are enclosed by bias satin ribbon 1cm wide. A 2.5cm wide ribbon placed along the waist line of the tulle panels which is secured by the top-stitching of the boning channels.
The side and centreback panels are made of 4-way stretch nylon mesh while all other panels are made of dual layered net tulle. Top and bottom edges of the corset (except top edge of the cups) are finished with picot edged elastic which is zig-zag stitched.
Top edges of the cups are finished with frills (1.5cm wide) with allowances enclosed in between layers and top-stitched. A 5cm wide padding covered with the same fabric as the bonning seals the CF boning and the underwires. Padding is overlocked on both sides and bottom edge is folded inwards.
A 5mm wide mesh tape is sewn along the horizontal seam of the cup. Vertical seam is pressed to one side and top-stitched. The underwire channel is made of triple layered bias satin ribbon. The other end of the underwire is enclosed with the same padding but 2.5cm wide.
There is a metal snap button hole 8mm wide hand sewn on the top of the centre-front. The frills are inserted in between the dual layers of the cup with all allowances pressed down and topstitched.
The eye tape goes on the left side of the centre-back. The centre-back is sewn along the initial row of eyes then topstitched. The side of the eye tape is top-stitched on the mesh fabric. The top and bottom edge of the eye tape is zig-zag stitched.
The hook tape goes on the right side of the centre-back. The edge of the centre-back panel is sewn along the hooks, this sandwiches the row of hooks. The other side of the hook tape is topstitched on the mesh fabric. The top and bottom edge of the hook tape is folded inwards and top-stitched.
The suspenders are made of 2cm wide cotton twill tape. It is zigzag stitched on to the G-hook. The channel for the removable G-hook is also made from the same twill tape. It is folded to 0.5cm wide and inserted between the edge of the garment and elastic and secured by zig-zig stitching.
Artist/Maker: Dickins & Jones (retailer) Berlei (manufacturer) Materials and Techniques: Nylon, lace, wire, elastic and boning. Labels and date: Corset, Berlei, London 1957
Physical description: Object history note: Pink corset of nylon and lace with elasticised panels, boning Part of a wedding ensemble T.16:1 to 4-1991 and T.102-2009. and underwire. The centre back has the hook and eye closure. Wedding dress and veil was made from a Vogue pattern. It was designed Place of origin: by the house of Jacques Fath. It was made for the donor by a professional London (retailed) England (made) local dressmaker, and worn by her for her wedding on 3 August 1957. The corset was bought at Dickins and Jones on Regent Street, London Date:1957 (made) and taken in slightly at the waist by the donor, as it was too big. The donor is Mrs Vivian Albany Ward.
Alike the Warner’s corset, the cups are also dual layered but the top edge is curled inwards and finished with a lace trimming and secured with an overlock looking stitching. Unlike the Warner’s corset, this corset has inserts in it’s cups to provide support and coverage. The top edge of the insert is finished with a zig-zag stitch while the bottom edge is concealed by the underwire casing.
The ends of the underwires are also sealed with some extra fabric to prevent the discomfort of the underwires poking. Unlike the Warner’s corset, the seals are not padded. The fabric is folded then top stitched along the profiles of the underwire. The underwire casing itself is quite fluffy which acts as little padding.
The top and bottom edges (except top edges of cups) are also finished with elastic which is secured by zigzag stitches. This elastic is wider and not picot edged. The suspenders are also made of the same elastic which is a more practical choice unlike the use of cotton twill tape for the suspenders in the Warner’s corset. The suspenders are secured by 2 rows of zigzag stiching.
The fabric for the dress was also purchased at Dickins and Jones. Vivian had intended to have her dress custom-made by the Harrods Bridal Room, but then discovered the dress pattern in the Vogue Patterns book, and noted how similar it was to her original choice. She decided to have her dress made by a private dressmaker, realising this would cost a lot less than going to Harrods. I chose to study this artefact from the Victoria & Albert Museum Archive as it beared a striking resemblance to the Merry Widow corset from the Underpinnings Museum. Both corsets are similar in design and construction.
Similar to the Warner’s corset, the side and centreback panels of this corset is also made of a medium weight mesh which allows 4-way stretch. There are also 9 pieces of spiral steel boning encased with bias tape. Zig-zag stiching is sewn on both edges of the elastic on the top edge of the garment. This is different for the elastic on the bottom edge which is zig-zag stitched on one edge.
There is a brand label, size label, and care label sewn on to the corset. The brand label specifies the maker and origins of the artefact. The care label states that the artefact is made of nylon and cannot be ironed.
Construction
The corset was designed with a cinched waist to provide women the hourglass silhouette. This new design was the pioneer in featuring separate cups and with a shorter girdle than its predecessors. The corset was aimed at evoking women’s sexuality as it is made of double layered net tulle, making it sheer except the side and center-back panels which were made of stretch nylon mesh. There are 9 pieces of spiral steel bones and a pair of underwires incorporated in the garment. It also consists of 4 suspenders, 2 below center-front panels and 2 below the center-back panels
FRONT
SIDE
BACK
1. Tracing the patterns from the original garment. The tricky area to trace 2. Re-drafted patterns based on the initial tracing. I measured each seam 3. Toile created from the patterns. It looked proportionate to the original is cups as it is a 3 dimensional shape which does not lay flat. and compared with the original garment to ensure accuracy. garment. The only amendment I did was to shift the apex seam so that it matches the seam below.
Order of Assembly 1. Sew CF, SF, SP, SB & CB panels together. 2. Lay the satin ribbon along the waist line of the sheer panels only. Baste the bias binding along each vertical seam. The binding conceals the seam allowances and secures the satin ribbon. Edge-stitch on both sides of the bias binding. 3. Sew the 2 pairs of bra cups by joining patterns BC1, BC2, & BC3. 4. Gather a 1.5cm wide ribbon using the same dernier fabric and baste the frills on the top edge of the cup on the right side. Another cup is placed on top with both cups right sides faced together and sewn along the top seam. This sandwiches and secures the frills.
1
2
3
4
5
6
7
8
9
5. The cup is turned inside out with the frills pushed out. Edge-stitch along the top seam and around the cup to secure both pieces. Repeat step 4 & 5 for the other cup. 6. Join both bra cups to the main piece. Baste 3 layers of bias binding together. Baste the triple layered binding along the under cup seam. Edge-stitch along both side. Repeat this step for the other cup. 7. Sew the picot edge elastic along the top edges with a zig-zag stitch. Cut the spiral steel boning according to the length of each seam. Encap both sides of each boning and insert the boning into the channel. 8. Sew the picot edge elastic along bottom edge with a zig-zag stitch. Sew the hook and eye tape along the centre back. 9. Overlock the PU foam and bias satin fabric on all 4 sides. Sew along the fold line of the padding to top edge of the corset. Fold the padding down to half and top-stitch along the overlocked edge on both sides.
Technical Pack
Construction, Specification, Patterns, Materials Resources & Measurements.
SPECIFICATIONS SHEET SHEET NO. : 1/8 COMPANY : Group A1 SEASON : Spring/Summer 2017 ITEM : 1 STYLE : SS17-WRN-MWC1 CATEGORY : Lingerie GARMENT DESCRIPTION : Warner’s Merry Widow Corset
MEASUREMENTS SHEET SHEET NO. : 2/8 COMPANY : Group A1 SEASON : Spring/Summer 2017 ITEM : 1 STYLE : SS17-WRN-MWC1 CATEGORY : Lingerie GARMENT DESCRIPTION : Warner’s Merry Widow Corset
C A
D
J
I
K
F B E G M
H L
FRONT
BACK FIT LOG - Warner's Merry Widow Corset MEASUREMENTS TAKEN ON CIRCUMFERENCE
FABRIC
THREAD
TRIM MEASUREMENT
REF
OTHERS
FABRIC SWATCH
BLOCK
SAMPLE
1ST FIT
2ND FIT
A
Centre Front Width
1.00
0.00
0.00
0.00
B
Centre Front Length
33.70
0.00
0.00
0.00
C
Cup Neck Edge
18.30
0.00
0.00
0.00
D
Apex to Centre Back Length
33.00
0.00
0.00
0.00
E
Hem Lower Edge to Apex
39.00
0.00
0.00
0.00
F
Cradle to Cup Edge
23.00
0.00
0.00
0.00
G
Wing to Wing Across Centre
12.70
0.00
0.00
0.00
H
Total Length Around Body
90.50
0.00
0.00
0.00
I
Across cup straight from front seat seam to channel seam
18.50
0.00
0.00
0.00
J
Cup Height
13.00
0.00
0.00
0.00
K
Channel Length Underwire
24.80
0.00
0.00
0.00
L
Strap Width
2.00
0.00
0.00
0.00
M
Centre Back Length
29.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
0.00
PATTERNS SHEET
PATTERNS SHEET
COMPANY : Group A1 SHEET NO. : 3/8 SEASON : Spring/Summer 2017 ITEM : 1 STYLE : SS17-WRN-MWC1 CATEGORY : Lingerie GARMENT DESCRIPTION : Warner’s Merry Widow Corset
Ref.
Peices
Name
ACD
COMPANY : Group A1 SHEET NO. : 4/8 SEASON : Spring/Summer 2017 ITEM : 1 STYLE : SS17-WRN-MWC1 CATEGORY : Lingerie GARMENT DESCRIPTION : Warner’s Merry Widow Corset
Quantity
Fabric
A
Ref.
Peices
Name
ACD
Quantity
Fabric
MWC Side Front
SF
Cut 2 pairs
Denier, Black
MWC Side Panel
SP
Cut 1 pair
Power net, Black
MWC Side Back
SB
Cut 2 pairs
Denier, Black
MWC Centre Back
CB
Cut 1 pair
Power net, Black
E MWC Bra Cup Part I
BC1
Cut 2 pairs
Denier, Black
B
F MWC Bra Cup Part II
BC2
Cut 2 pairs
Denier, Black
C
G MWC Bra Cup Part III
BC3
Cut 2 pairs
Denier, Black
D
H
Centre Front
MWC Centre Front
ADDITIONAL COMMENTS: All seam allowances are 0.5 cm.
CF
Cut 2 pairs
Denier, Black
Centre
Back
ADDITIONAL COMMENTS: All seam allowances are 0.5 cm.
CONSTRUCTION SHEET COMPANY : Group A1 SHEET NO. : 5/8 SEASON : Spring/Summer 2017 ITEM : 1 STYLE : SS17-WRN-MWC1 CATEGORY : Lingerie GARMENT DESCRIPTION : Warner’s Merry Widow Corset
CONSTRUCTION SHEET COMPANY : Group A1 SHEET NO. : 6/8 SEASON : Spring/Summer 2017 ITEM : 1 STYLE : SS17-WRN-MWC1 CATEGORY : Lingerie GARMENT DESCRIPTION : Warner’s Merry Widow Corset
Centre back hook & eye tape closure
Bias cut satin overlocked with PU as padding & underwire channel closure.
Details - All panels are double layered except side and centre back panels. - Double layered panels are finished with satin ribbon at the waist line which is secured by the boning channels. - 9 bones in total, encasing each vertical seam. - Underwire channel is made from triple layered bias tape. DATE : 18-5-2017 PERSON IN CHARGE : SIGNATURE : M.H.
Mark Heah
1cm loop made of twill tape is sewn between garment and elastic. G hook is sewn on suspenders. DATE : 18-5-2017 PERSON IN CHARGE : SIGNATURE : M.H.
Mark Heah
Satin ribbon at the waist line secured by the bias tape channels.
MATERIAL RESOURCES SHEET
MATERIAL RESOURCES SHEET
COMPANY : Group A1 SHEET NO. : 7/8 SEASON : Spring/Summer 2017 ITEM : 1 STYLE : SS17-WRN-MWC1 CATEGORY : Lingerie GARMENT DESCRIPTION : Warner’s Merry Widow Corset
COMPANY : Group A1 SHEET NO. : 8/8 SEASON : Spring/Summer 2017 ITEM : 1 STYLE : SS17-WRN-MWC1 CATEGORY : Lingerie GARMENT DESCRIPTION : Warner’s Merry Widow Corset
SAMPLE
COMPOSITION AND FABRIC WIDTH
SUPPLIER
SAMPLE
COMPOSITION AND FABRIC WIDTH
SUPPLIER
Power Net, Black
67% polyamide, 33% elastane
Macculloch & Wallis
Underwire Style VT1 - W36
Stainless Steel
sewingchest.co.uk
Denier, Black
100% Nylon
Karolina Laskowska
Double Hook & Eye Tape, Black
Spiral Steel Boning, 7mm
Steel
sewingchest.co.uk
VCD-068 Suspenders, Black
19mm
venacavadesign.co.uk
Satin Bias Binding, 12mm
100% Polyester
Macculloch & Wallis
VCD-064 Suspender Hooks, Black
22mm
venacavadesign.co.uk
ADDITIONAL COMMENTS:
ADDITIONAL COMMENTS:
100% Nylon
Macculloch & Wallis
Final Garment
Object-Based Study Checklist
After taking the measurements and tracing the garment, we proceed to fill the thorough check list that is from the book ÂŤThe Dress Detective: A Practical Guide to Object-Based Research in Fashion ÂŤ which talks about how to proceed when working on this kind of project and to extract the majority of the date from the object.
CHECKLIST FOR OBSERVATION GENERAL
CONSTRUCTION
1) What type of garment is it? 1950’s Merry Widow Corset.
12) If relevant to your research, note measurements in both imperial and metric measurements. Bust: 85cm Waist: 65cm Hips: 84cm Waist to Hem: 18cm on CF
2) Is the garment intended for Male, Female or Unisex? The garment is intended for female consumers.
13)Does the garment emphasise one part of the body? Bust, waist & hips.
3) What are the main fabrics that have been used to make the garment? The main fabric used is embroidered tulle and some power mesh.
14) Is the garment machine-stitched, handmade or a combination of methods? Machine stitched.
4) Are the fabrics predominately natural in composition (silk,wool,cotton,linen), synthetics or a blend? Nylon & other fibers.
15) How is the garment closed or fastened? The garment is closed by a hook & eye tape on the CB.
5) What are the dominant colours and/or patterns of the garment? The main colour is ivory.
16) Are they any front,side,flap, or hidden pocket? No.
6) Does the garment have any labels? Yes, the designer label with price ($15), size (34,35), made in the USA, style (1317B)
17) Are they any remarkable features in the construction, such as bias cut, use of nontraditional materials or structural elements? Yes, spiral steel bones are incorporated along all vertical seams.
7) What decade or general period does the garment or accessory belong to? 1950’s 8) Can the garment be handled safely without causing further damage? Yes but do not pull the elastics as they have lost their stretch. 9) What are the garments the most unusual or unique aspects of the garment? Both ends of the underwires are padded and the bones are soft. 10) Does the collection have any other garments like it either by the same designer or the same period? Yes, The Underpinnings Museum has other garments Merry Widow corsets from the same period.
18) Is the fabric selvedge visible in the seams and has this been incorporated into the cutting or construction of the garment? No the garment is not cut on the selvedge. 19) Is the type of construction consisted with the dating of the garment? Yes. 20) Is the garment reinforced in an way, such as padding,boning, metal hoops or wire reinforments? Yes the use of spiral steel boning and underwires. 21) Is the garment lined? Not lined by most panels are double layered.
CHECKLIST FOR OBSERVATION TEXTILE
USE,ALTERATION AND WEAR
22) What is the dominant textile or material that has been used? It is natural or man-made finer? Nylon tulle with floral embroidery.
33) Has the garment been structurally altered in any way? No.
23) Has the dominant textile been subjected to a finishing process, such as bleaching, pressing or glawzing? No.
34) Where does the garment show wear? No signs of wear, but materials have aged.
24) Have any other textiles been used in the garment or the lining? No appart from the trimmings there aren’t any other pieces of fabrics
35) Is the garment soiled or damaged in any way? Have seams ripped,silk split or fabric decomposed? Is there evidence of insect damage? No.
25) Does the garment incorporate a stripe or pattern? Is it woven into the fabric or printed or formed by a different method such as stencilling, painting or manipulating of fabric? Medium weight nylon mesh on the side and back panels. 26) Is there any form of applied decoration such as appliqué, trim, lace, beading, embroidery, buttons, ruffles, pleated bands or bows? Are there any such a decoration been removed? Yes, a floral pattern on the outer layer of tulle. 27) Has the fabric been reinforced in any way with padding,quilting,interfacing, wires or boning? Yes, underwire for the bra cups and spiral steel boning for each vertical seam. 28) Has the textile faded or otherwise changed colour with the passage of time? The textiles have stiffened slighly. This is more apparent on the mesh and suspenders which are losing their stretch.
LABELS
36) Has the garment been dyed to alter its original colour? Have trim or other forms of embellishment been unpicked or removed? No. 37) Does the styling of the garment conform to the predominant fashions of the period, or does it represent a hybrid, perhaps custom-made for the owner? The silhouette of the garment corresponds to women’s desires to achieve the hourglass shape made iconic by French designer Christian Dior in the 1950’s.
SUPPORTING MATERIAL 38) Does the collection have any provenance records associated with the garments? No.
29) Is there a maker labels? If so,is the labels consistent with the designers oeuvre and does it offer clues as to a dating such as a number or season? Maker is Warner’s. Merry Widow is the style name.
39) Are there any photographs of the garment? Yes images of the garment can be found on The Underpinnings Museum website
30) Is there a store label identify where the garment was purchased? Does this reveal anything about the garments history? No store label.
40) Are there any further documents or information about the garment that light indicate the original price of the garment? The price is stated on the label - $15.
31) Are there any care labels or information about the garment?? No care label but there is a price label ($15), model number (1317B), made in the USA, nylon & other fabrics.
41) Are there any manufacturer, store tags or original packaging associated with the garment? No.
32) Are there any size labels in the garment? Yes the garment is size 34, 35.
42) Are there any similar garments by the same designer or by other designer from the sae period in this collection? The maker (Warner’s) produced similar styles of corset also named the Merry Widow. The iconic garment is still being produced and sold in today’s market.
33) Is there a marking inside the garment that indicates the specific owner of the garment, such as an embroidered initial, name tag or laundry mark? No, there are no signs on wear or ownership.
CHECKLIST FOR REFLECTION SENSORY REACTIONS
CONTEXTUAL INFORMATION
43) Does the garment have stylistic, religious or iconic references? The hourglass shape. Women aspired to achieve this silhouette in the 1950’s.
54) If you were permitted access to the provenance record for the artefact,where does this information rival about the owner and their relation to the garment? The owner’s budget to spend on lingerie, their enthusiasm and style preference.
44) Is the garment stylistically consistent with the period from which it came? Does it seem to reflect the influences of that period or diverge from it? Yes. It reflects the style influence of the time. Narrow waist and flared hips. 45) What is the texture and weight of the cloth or other materials used to construct the garment? The texture of the garment is light weight but slightly rough. The bones are soft and bendable for steel boning. 46) Would a person wearing this garment make a noise? No. 47) Does the garment smell? Smells like old books.
PERSONAL REACTIONS 48) What was the impetus to examine this garment? Where you interested in the person who wore it, the maker or some other aspect of its object biography? To carry out tasks for a university project.
55) Does the museum,study or private collection have other garments that are similar, or by the same designer/ maker? Yes, the Underpinnings Museum has an extensive collection, where there are more garments about the same era and similar in shape and construction. 56) Does the museum have similar objects? Can you identify similar objects in online collections of dress? Yes the museum has similar objects that could be from the same collection. 57) Have other scholars written about this type of garment of the designer`s work in books or peer-reviewed journals? Lingerie enthusiasts and researchers have written on the garment in books and articles. 58) Are there similar garments or related ephemera (advertisements, fashion photographs ,packaging and other print material) available for sale on Etsy,Ebay,online vintage retailers, or on auction sites? Yes, there are a few available on etsy.com 59) Are there photographs, paintings or illustrations of this garment, or of similar garments in books,magazines, museum collection or online? Yes, there is a similar corset at the LCF Special Collections Archive and a few at the V&A Archive.
49) Are you the same gender and size as the person who wore the garment? Did a person who was bigger or smal- 60) Has the garment or other like it, been referenced in documents such as letters or receipts, or magazines novels ler than you wear it? Would the garment fit your body? and other forms or written materials? Not the same gender. It would not fit my figure. Several books and articles have written on the Merry Widow’s history and construction. 50) How would it feel on your body? Would it be tight or loose? Would the garment cause discomfort or pain? It will not even close at the back much less be too tight.
61) If the maker of the garment is a known designer, what information is available about them? how does this garment fit into their oeuvre? Have there been exhibitions of the designers work? The maker is an American company named Warner’s who has created women’s undergarments since the 1920’s. 51) Does the garment or accessory demonstrate a complexity of construction or elements of mastery in the design? There hasn’t been an exhibition on their products. Does the dress artefact have a functional component to the design? It will require experience in sewing the lightweight and slippery fabric and knowledge in applying boning. 52) Did the maker want to invoke emotion, status,sexuality or gender roles wit the garment? Does the garment seem to express humour,joy,sorrow or fear? It was designed to invoke women’s sexuality. The silhouette and sheerness of the garment is intended for erotic purposes. 53) Do you have an emotion reaction to the garment? Can you identify a personal bias that should be acknowledged in your research? The see through effect has the ability to sexually stimulate a man, which is the purpose of lingerie. However the soft colour and gives it a feminine and demure quality. It will satisfy both the wearer and the wearer’s intended.