To present themselves as sexually desirable it became expected of women to wear undergarments that fit that image. The Cunningtons maintain that the distinction between underwear as practical garments and lingerie as seductive underwear developed in the Edwardian era when heavily ruched and decorated petticoats and camisoles deserved to be differentiated from woollen nightgowns and simple underskirts. While this Edwardian lingerie did not display nudity like later underwear designs did, they were erotic garments.
Chapter Seven: Dress For Undressing
Embroidered Cotton Lawn Corset Cover
Date: c. 1880-1890s
Origin: Great Britain
Fabric: Cotton
A corset cover and pair of split drawers in fine cotton lawn with intricate embellishments and lace trims. The corset cover is fitted at the waist, with silk ribbon slot trim at the waist and bustlines allowing a small level of fit adjustability. It fastens with shell buttons and embroidered buttonholes behind a cotton placket. It is profusely embellished, with filet insertion lace appliqué at the neck and bustline and whitework floral embroidery. The back of the corset cover is split at the waistline, presumably to accommodate the additional volume of the fashionable bustle silhouettes of the period. Such a garment would have ordinarily been worn over a corset to conceal the corset colour and lines from showing through outer garments (corsets were often brightly coloured, and hardware such as busks and petticoats could create unsightly lines through fine fabrics).
Cotton And Bow Lace Appliqué Chemise
Date: c. 1910
Origin: United Kingdom
Fabric: Cotton
This Edwardian chemise is made of an extremely fine cotton lawn and would have been worn directly against the skin, underneath a corset. It has been cut with a princess line down to around the mid-thigh, where a band of decorative ribbon-slot embroidery has been inserted. A full skirt has been inserted into the bottom seam of this band. The garment buttons up through the centre back seam as far down as the band of embroidery. There are 5 shell buttons, with hand-worked button holes. The garment would have also fastened with a silk bow at the neckline, through the ribbon slot lace. The centre back seams are encased in a wide cotton lawn binding.
The sex appeal of underwear does not merely arise from sexual suggestiveness or the skilful display of a given body part. Both the Cunningtons and Steele argue for the appeal of the state of undress. Undergarments or ‘undress garments’ are erotic because they prefigure the nude body. Like petticoats or tea-gowns boudoir caps fall into the category of lingerie that is made to be seen, “hover[ing] on the borderline between secret clothing and fashionable dress” (Steele (1985) 208). This ‘state of undress’ is a concept used by dress historians to describe certain styles of undergarments which were purposefully exposed for erotic effect. Anticipating the naked body they hint to sexual intimacy without actually revealing the body. The Manchester Guardian in 1930 reminds readers that “Boudoir caps are worn as a complement to pyjamas and also with tea-gowns” (The Manchester Guardian, 24 Nov, 1930, 6). Accordingly, they belong to the state of ‘undress’ themselves.
Silk Ribbon, Cotton Tulle & Lace Boudoir Headband By Simonettes
Date: c. 1925
Origin: United States
Fabric: Silk ribbon, lace and cotton tulle
Brand: Simonettes
A boudoir headband in fine silk ribbon, silk tulle, machine lace and silk ribbonwork rosettes. The silk ribbons interlock around the head, with a bow embellishing the crown. The centre back of the headband is made of a channel of silk ribbon, which would have originally been elasticated. Sadly due to the age of the garment, the elastic has now perished.
This luxurious boudoir headband would have been worn as a form of decorative lingerie, rather than for the purpose of protecting the hair as with traditional boudoir caps. The ‘cage’ effect of the interlocking silk ribbons would have offered little coverage to the hair. It’s a style that prioritises aesthetic over practicality. The style was patented on 05-12-25.
Ecru Embroidered Tulle Wrap Robe With Purple Silk Sash
Date: c. 1920s
Origin: Unknown
Fabric: Embroidered tulle, silk habotai
This robe is made from a base of profusely tambour embroidered tulle, with a repeated motif of flowers, foliage and swirls. The body of the robe is lined with a cream silk and the neckline trimmed with a purple silk habotai. The sleeves are cut in a flutter style, using two layers of unlined embroidered tulle. The robe closes with popper fastenings and a lavish waist tie, made from the same purple silk that the neckline is trimmed with.
Bow Lace Insertion & Ribbonwork Silk Camisole
Date: c. 1920s
Origin: United States
Fabric: Silk
A white silk camisole in a simple rectangular cut, gathered in under the bust with elastic. The top edge of the camisole is trimmed with 3 tiers of cotton Valenciennes-style leavers lace trim. The front of the camisole has profuse embellishment, with lace trim shaped into an appliquéd bow motif with the silk backing cut away. The centre of the bow motif has multi-toned silk ribbonwork in floral motifs. The camisole is sewn with a mix of machine and hand stitching, but appears to have had multiple contemporary alterations.
Tulle & silk boudoir cap with oversized flowers
Date: c. 1920s
Origin: United States
Fabric: Tulle and silk satin
Brand: Custom made
This boudoir cap is created from a crown of pink silk satin, edged with embroidered tulle and a narrow leavers lace scalloped trim. On one side of the cap, three elaborate rosettes are made of pleated silk ribbon in pink and blue. On the other side there is a large poppy made of metallic painted leather.
Navigation
Chapter One: Introduction & The Boudoir Cap’s Predecessors
Chapter Two: A Rite Of Passage Into Adulthood
Chapter Three: Glamour For All
Chapter Four: An Affordable And Attainable Way Of Achieving The Boudoir
Chapter Five: A Safe Version Of Sex Appeal
Chapter Seven: Dress For Undressing