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When in Primark i took a look around there underwear section , they had a large range of different styles and shapes , however when it came to sizing they were very limited. They went from a n A cup to the highest being a D cup.

In certain styles they ranged up to a G cup , however they wouldn’t have all the band sizing. Even though some of the styles are in larger styles, they don’t cater for everyone.

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These areas highlighted , are areas missed in the previous project or areas that need improving.

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What’s the Difference between a Bra and Bralette? | SKIMS

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A bra provides more structure, padding, and a back or front closure, while a bralette provides a softer structure and a more natural look under clothing.

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Primark is a leading international clothing retailer employing more than 72,000 colleagues in 15 countries - and growing. Everything we do is built around everyday affordability: from great quality essentials to stand-out style, trend setters to multi-generational families, everyone is welcome at Primark.

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Our Story | Empowering Loungers Worldwide

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Our Story | Empowering Loungers Worldwide

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Since launching in 2015, Lounge has been on an incredible journey. Empowering Loungers worldwide and redefining beauty standards. This is our story!

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Snake Goddess from ancient Crete, with the breasts supported by a fitted corset-like garment, c. 1600 BCE

Y-shaped breast bands on a bronze statue of Artemis, (mid-4th century BCE).

Aphrodite in a gold "bikini"; Roman copy of a Hellenistic statue, Pompeii

Wall painting at Pompeii, 62-79 CE, showing a mamillare

The history of bras (brassières; variously pronounced) is closely tied to the social status of women, the evolution of fashion, and shifting views of the female body over time.

Throughout history, women have used various garments to support, cover, restrain, reveal, enhance, or modify the appearance of their breasts. Artifacts from the Minoan civilization, dating back to the 14th century BCE, depict women wearing bikini-like garments. Some evidence suggests that during the Greco-Roman period, women had developed specialized bra-like garments to support their breasts. By the 14th century CE, the proto-bra was in development in Europe.

From approximately the 16th century CE onward, the corset dominated the undergarments of wealthier women in the Western world. Corsets came in varying lengths, with some designed only to support the bust, while others extended down to shape the waist. In the latter part of the 19th century, women experimented with various alternatives, such as splitting the corset into a girdle-like shaping device for the lower torso and transferring the upper part to devices suspended from the shoulder.

By the early 20th century, garments emerged that more closely resembled contemporary bras; however, large-scale commercial production only occurred in the 1930s. The metal shortages of World War I encouraged the demise of the corset, and most fashion-conscious women in Europe and North America were wearing bras by the end of the war. The bra was then adopted by women in other parts of the world, including Asia, Africa, and Latin America.

The Coronation of the Winner, 4th century CE

Literature from Ancient Greece suggests the use of a specialized garment meant to support and contain women's breasts. In Book 14 of Homer's , written in the archaic period of classical antiquity, Homer refers to Aphrodite's "embroidered girdle" ( Ancient Greek: κεστός ἱμάς, kestós himás) as being "loosed from her breasts", indicating a decorated breast-band rather than a girdle or belt, as is often interpreted. At least one example of late-Hellenic sculpture seems to confirm this, depicting the goddess wrapping a stróphion (from stróphos "twisted band" + the diminutive suffix -ion) around her chest.

Aristophanes mentions the stróphion in his plays Lysistrata and Women at the Thesmophoria. However, it is unknown if the stróphion was an everyday garment worn by the average woman or an item of clothing reserved for certain situations or specific types of women. Artifacts from the Minoan civilization, dating back to the 14th century BCE, depict women wearing bikini-like garments. However, most early Grecian sculpture and vase paintings that depict undressed women show no indication of breast bands, instead revealing the shape of the breast through draped clothing, or even the nipple itself, with no sign of an intervening item of clothing between dress and skin.

The Roman adaptation of the strophium was mentioned in writings by Martial, Ovid, and in the Scriptores Historiae Augustae as the fascia, fasciola, taenia, or mamillare. This garment was made from various materials. It is depicted in the 4th century CE. Coronation of the Winner mosaic, also known as the "Bikini Mosaic", at Villa Romana del Casale in Piazza Armerina, Sicily. In the mosaic, the bra-wearing women are participating in sporting events. In addition, some large-breasted Roman women wore a mamillare under tunics and togas because Romans considered large breasts to be "grandmotherly".

By the High Middle Ages, some women in Western Europe were using bra-like garments to support and restrain their breasts. Both Henri de Mondeville, surgeon to King Phillip the Fair of France, and Konrad Stolle, writing over a hundred years apart ( c. 1315 CE and c.  1480 CE, respectively), mention "breast bags" or "shirts with bags" that women used to contain their breasts. Stolle called these inventions "indecent". A 15th-century anonymous German writer said many women made and wore these garments, noting the benefits for one woman: "All the young men that look at her, can see her beautiful breasts..." In this era, women of status wore clothing that required specialized undergarments with separated cups that lifted and separated the breasts.

15th-century playing cards and illustrated manuscripts provide visible evidence of these garments. In 2008, fragments of four bra-like undergarments were discovered in Lengberg Castle in Austria. Dating to the 15th century, the garments represent three different designs but all had separate cups. They were probably worn attached to skirts, but the skirts were removed when the garments were discarded, perhaps to reuse the fabric.

Support of the bosom by a pair of bodies (French: brassière). 1900.

The inventor of the corset is unclear, but it appeared around the turn of the 16th century CE. During this period, the lifted, separated "apple breasts" look of the Middle Ages, began to go out of fashion and was replaced with the look of a compressed bust. The corset was originally called a paire de corps or "a pair of bodies" in English because they came in two pieces. It gave the chest and torso a smooth, conical shape that worked with the farthingale to create the illusion of a tiny waist.

In the mid-17th century, pair of bodies began to be called "stays" and were usually boned with baleen instead of reeds. Some of these bodies were made in one piece but retained the same general shape and did not feature cups like a bra. This style remained unchanged until the end of the 18th century.

In the 1780s and 1790s, the shape of stays changed radically to suit the changing fashions. However, many of these "shortened stays" or "short stays", as they were sometimes called in Britain, resembled earlier support Middle Ages garments more than stays, with fitted cups that held the breasts apart and bands only as wide as the ribs or shorter, instead of waist-length. Around this time, the French started to refer to stays as corsets.

During the 19th century, two parallel movements drove the evolution of the bra from the corset: health professionals' concerns about the cruel, constraining effects of the corset and the clothing reform movement of feminists who believed women needed to discard the corset before they could expand their roles in society. Reformed Amelia Bloomer said, "When you find a burden in belief or apparel, cast it off".

American women who made important contributions to the corset reform movement included Amelia Bloomer and Dr. Mary Edwards Walker. In the United Kingdom, notable figures in the movement included Constance Lloyd, wife of Oscar Wilde. The Rational Dress Society, the National Dress Reform Association, and the Reform Dress Association were prominent organizations that advocated for the end of the corset.

Despite the dress reform movement, early bras had limited commercial success. Only well-educated, wealthy reformers wore them to any significant degree because they were expensive.

Numerous patents for bra-like devices were granted in the 19th century, indicating developments in the invention of the modern bra. A bra-like device that gave a "symmetrical rotundity" to the wearer's breasts was patented in 1859 by Henry S. Lesher of Brooklyn, New York. In 1863, a "corset substitute" was patented by Luman L. Chapman of Camden, New Jersey. Historians refer to it as a "proto-bra".

In 1876, dressmaker Olivia Flynt was granted four patents covering the "True Corset" or "Flynt Waist" which was designed for larger-breasted women. Reformers probably purchased and helped create a demand for these early garments on "hygienic" grounds over health concerns about the corset. Initially, Flynt's garments were available by mail order but eventually appeared in department and clothing stores. She won a bronze medal for her designs at the Massachusetts Charitable Mechanics Association in 1878, at the Cotton States and International Exposition in Atlanta from 1884 to 1885, and at the World's Columbian Exposition in Chicago in 1893.

According to magazine, Herminie Cadolle of France invented the first modern bra in 1889. It appeared in a corset catalog as a two-piece undergarment, which she originally called the corselet gorge and later le bien-être or "the well-being". Her garment cut the traditional corset in two: The lower part was a corset for the waist, and the upper part supported the breasts with shoulder straps. Her description reads, "designed to sustain the bosom and supported by the shoulders." She patented her invention and showed it at the Paris Exposition Universelle in 1889. By 1905, the upper half was sold separately as a soutien-gorge, the name by which bras are still known in France. She also introduced the use of rubber thread or elastic. Her company is still family-owned and claims that Cadolle freed women by inventing the first Bra."

In 1893, Marie Tucek received a U.S. patent for a device that consisted of separate pockets for each breast above a metal supporting plate, with shoulder straps fastened by hook-and-eye. This invention was a precursor to the underwire bra.

The bra was initially worn as an alternative to the corset, as a negligée or at-home wear, or was worn by women with medical issues stemming from corsets. After the straight-fronted corset became fashionable in the early 20th century, a bra or "bust supporter" became a necessity for full-busted women because the straight-fronted corset did not offer as much support and containment as the Victorian styles. Early bras were either wrap-around bodices or boned, close-fitting camisoles (both worn over the corset). They were designed to hold the bust in and down against the corset, which provided upward support.

Advertising of the times, typically in periodicals, stressed the advantages of bras in health and comfort over corsets and portrayed garments with shoulder supports in a mono-bosom style and with limited adaptability. Their major appeal was to those for whom lung function and mobility were priorities rather than outer appearance. Home-sewn garments competed with factory-made, ready-to-wear garments.

Jacob's brassiere, from the original patent application

Jacob's brassiere, from the original patent application

1913 Bust reducing bra, US Patent 1156808

The word "brassiere" was first used in magazine in 1907 to describe a device that supported the breasts. The word brassiere was added to the Oxford English Dictionary in 1911.

Sigmund Lindauer from Stuttgart- Bad Cannstatt, Germany, developed a bra for mass production in 1912 and patented it in 1913. Mechanische Trikotweberei Ludwig Maier & Cie. AG mass-produced his design in Böblingen, Germany. With metal shortages, World War I encouraged the end of the corset. When the war ended, most fashion-conscious women in Europe and North America wore bras. From there, the bra was adopted by women in Asia, Africa, and Latin America.

In 1910, Mary Phelps Jacob (known later in life as Caresse Crosby), a 19-year-old New York socialite, purchased a sheer evening gown for a debutante ball. At that time, the only acceptable undergarment was a corset stiffened with whalebone. Mary had large breasts and found the whalebone visibly poked out around her plunging neckline and from under the sheer fabric. Dissatisfied with this arrangement, she worked with her maid to fashion two silk handkerchiefs with a pink ribbon and cord.Her innovation drew immediate attention that evening, and she made more of her new device for family and friends. When a stranger offered her a dollar for one, she realized that her device could turn into a viable business.

On November 3, 1914, the U.S. Patent Office issued the first U.S. patent for the "Backless Bra". Crosby's patent was for a lightweight, soft, and comfortable device that naturally separated the breasts; in contrast with the corset, which was heavy, stiff, uncomfortable, and had the effect of creating a "monobosom". Crosby secured some orders from department stores, but her business never took off. Her husband, Harry Crosby, discouraged her from pursuing the business and persuaded her to close it. She later sold the bra patent to the Warners Brothers Corset Company in Bridgeport, Connecticut, for $1,500 ($22,814 in today's money). Warner manufactured the "Crosby" bra for a while, but it did not become popular and was eventually discontinued. Warner went on to earn more than $15 million from the bra patent over the next thirty years.

Bras became more common and widely promoted throughout the 1910s, aided by the continuing trend towards lighter, shorter corsets that offered increasingly less bust support and containment. At the beginning of the U.S. involvement in World War I in 1917, the U.S. War Industries Board asked women to stop buying corsets to free up metal for war production. This was said to have saved some 28,000 tons of metal, enough to build two battleships.

In addition to helping to liberate women from corsets, World War I also changed gender roles as women filled labor shortages by working in factories and wearing uniforms. However, women were already moving into the retail and clerical sectors. Thus the bra emerged from something that was once discreetly tucked into the back pages of women's magazines in the 1890s to prominent display in department stores such as Sears, Roebuck, and Montgomery Ward by 1918. Advertising began to promote shaping the bust to meet contemporary fashion demands, and sales reflected this need.

Fashion of the 1920s included the "boyish" silhouette of the flapper, with little bust definition. The term flapper, which in the mid-1910s referred to pre- and early-teenage girls, was adopted by the J. Walter Thompson advertising agency in the 1920s for their younger adult customers. The androgynous figure, then in style, downplayed women's natural curves through a bandeau bra, which flattened breasts. It was relatively easy for small-busted women to conform to the flat-chested look of the Flapper era. Women with larger breasts tried products like the popular Symington Side Lacer that, when laced at the sides, pulled and helped to flatten women's chests. However, some "bras" of the early 1920s were little more than camisoles.

In 1922, Russian immigrant Ida Rosenthal was a seamstress at Enid Frocks, a small New York City dress shop. She and her husband, William Rosenthal, and shop owner Enid Bissett changed the look of women's fashion. They noticed that a bra that fit one woman did not fit another woman with the same bra band size. They developed bras for all ages with $4,500 invested in their new business. Their innovation was designed to make their dresses look better on the wearer by increasing the shaping of the bandeau bra to enhance and support women's breasts. They named the company Maiden Form, a deliberate contrast with the name of a competitor, Boyishform Company. Maiden Form routed Boyishform by 1924, by accenting and lifting rather than flattening the bust. In 1927, William Rosenthal, the president of Maiden Form, filed patents for full-figured nursing and the first seamed uplift bra.

These fashion changes coincided with health professionals beginning to link breast care and comfort to motherhood and lactation with a campaign against breast flattening. The emphasis shifted from minimizing the breasts to uplifting and accenting them. Women, especially the younger set, welcomed the bra as a modern garment.

While manufacturing was becoming more organized, homemade bras and bandeaux were still quite popular. Homemade bras were usually made of white cotton and were little more than bust bodices that provided some separation.

Drawing of a woman wearing a bra, from February 28, 1930, U.S. Patent 1825579 application

The culturally preferred silhouette among Western women during the 1930s was a pointy bust, which further increased demand for a forming garment. The word "brassiere" was gradually shortened to "bra" in the 1930s. According to a 1934 survey by Harper's Bazaar, "bra" was the most commonly used expression for the garment among college women. In October 1932, the S.H. Camp and Company correlated the size and pendulousness of a woman's breasts to letters of the alphabet, ranging from A through D. In February 1933, Camp's advertising featured letter-labeled profiles of breasts in Corset and Underwear Review. In 1937, Warner began to feature cup sizing in its products. Two other companies, Model and Fay-Miss, began to offer A, B, C, and D cups in the late 1930s. Catalog companies continued to use the designations Small, Medium, and Large through the 1940s.

Other innovations included the Warners' use of elastic, the adjustable strap, the sized cup, and padded bras for smaller-breasted women. There were also advances in fiber technology, fabrics, colors, patterns, and options. Adjustable bands were also introduced in the 1930s, using multiple eye and hook positions.

Bras rapidly became a major industry over the 1930s, outperforming other industries. In the U.S., production moved outside New York and Chicago, and advertising became more specialized and began to exploit Hollywood glamour. Much of this marketing was aimed at young women. Saleswomen played a crucial role in helping clients find fitting garments in newly added fitting areas. Manufacturers even arranged fitting training courses for sales assistants.

International sales started to form an increasing part of the U.S. bra manufacturer's market. Prices started to make bras available to a broader market, and homemade competition dwindled. Other major manufacturers of the 1930s included Triumph, Maidenform, Gossard ( Courtaulds), Spirella, Spencer, Twilfit, and Symington.

Drawing of a woman wearing a bra from a 1947 U.S. patent application

Two women show off a new uniform, including a plastic bra designed to help prevent occupational accidents, Los Angeles,1943

World War II had a significant impact on clothing. In the United States, women were enlisted in the lower ranks of the military for the first time and were fitted with uniform underwear. Women's occupations shifted dramatically, with far more employed outside the home. Willson Goggles, a Pennsylvania firm manufacturing safety equipment for manual workers, is believed to have introduced the plastic "SAF-T-BRA", designed to protect women on the factory floor. Dress codes appeared - for example, Lockheed informed their workers that bras must be worn because of "good taste, anatomical support, and morale."

Advertising in the 1940s appealed to patriotism and the concept that bras and girdles were somehow "protection".Advertising, promotion, and consumerism started to be directed at minorities (e.g., in 1945) and teens Military terminology crept into product marketing, as represented by the highly structured, conically pointed Torpedo or Bullet bra designed for "maximum projection". Exaggerating breast size, bullet bras became fashionable. Pin-ups of models and actresses wearing tight-fitting outer garments over their bullet bras became known as sweater girls.

The war presented unique challenges for the industry as material shortages limited design choices. As in World War I, there was concern about the use of badly needed steel in corsets; in 1941, the British Government carried out a survey of women's usage of underwear that showed that "on average, women-owned 1.2 bras (housewives 0.8 and agricultural workers 1.9)." Many manufacturers only survived by making tents and parachutes in addition to bras. However, the war also freed the American industry from European influences, particularly French, and became more distinctive.

Patti Page wearing a bullet bra, 1955

New kinds of material were increasingly available post-war. Production and marketing increased, creating a demand for a greater variety of consumer goods, including bras. The baby boom created a demand for maternity and nursing bras and television provided new promotional opportunities. Manufacturers responded with new fabrics, colors, patterns, styles, padding, and elasticity. DuPont created the lycra; this synthetic material was stretchy and helped create bras that seemed molded to a woman's shape.

Bras for pre-teens and girls entering puberty were first marketed during the 1950s. Before introducing training bras, young girls in Western countries usually wore a one-piece "waist" or camisole without cups or darts.

The 1960s reflected an increasing interest in quality and fashion. Maternity and mastectomy bras began to find new respectability, and the increasing use of washing machines created a need for more durable products. While girdles gave way to pantyhose, the bra continued to evolve. Marketing campaigns like those for the "Snoozable" and "Sweet Dreams" promoted wearing a bra 24 hours a day.

In October 1964, fashion designer Rudy Gernreich released the Exquisite Form "No Bra", a soft-cup, lightweight, seamless, sheer nylon and elastic tricot bra in sizes 32 to 36, with A and B cups. His minimalist bra was a revolutionary departure from the heavy, torpedo-shaped bras of the 1950s and initiated a trend toward more natural shapes and soft, sheer fabrics. He also designed the "All-in-None" with a deep, plunging front and the "No-Back" long-line version, which featured a contoured stretch waistband that allowed a woman to wear a backless dress.

The Wonderbra was created in 1964 by Louise Poirier for Canadelle, a Canadian lingerie company. It has 54 design elements that lift and support the bustline while creating a deep plunge and push-together effect. First-year sales for the Wonderbra were approximated at US $120 million ( $11,788,841 in today's[when? ] money). Canadelle positioned Wonderbra as a romantic, fashionable, and sexy brand.

In the 1970s, many American bra manufacturers moved production offshore like other garment makers.

With the growing popularity of jogging and other forms of exercise, there was a need for an athletic garment for women's breasts. The first commercially available sports bra was the "Free Swing Tennis Bra", introduced by Glamorise Foundations, Inc. in 1975.

The first general exercise bra, initially called a "jockbra", was invented in 1977 by Lisa Lindahl and theater costume designer Polly Smith with the help of Smith's assistant, Hinda Schreiber. Lindahl and her sister, Victoria Woodrow, complained about their bad experience exercising in ordinary bras, having experienced runaway straps, chafing, and sore breasts. During Lindahl and Smith's exploration for an alternative, it was suggested that they needed a jockstrap for women's breasts. In the Royall Tyler Theatre costume shop at the University of Vermont, Lindahl and Smith sewed two jockstraps together and nicknamed it a "jockbra". It was later renamed a "jog bra". One of their original Jogbras is bronzed and on display near the theatre's costume shop. Two others are housed by the Smithsonian, and another by the New York Metropolitan Museum of Art.

A Canadian brand, Wonderbra, plunge, push-up bra, c.  1975

Jogbra, back view with packaging, "The Professional Athletic Support Bra That Keeps Breasts from Bouncing."

Sportshape JogBra Advertisement, 1986, emphasizes support for larger-breasted women who choose to be active.

Throughout the 1980s fashion led the way in the look and feel of bras. Western television shows featured classy, powerful, and well-formed ladies, usually donning low-cut tops to show an enhanced chest with an equally classy matching bra. An increase in silicone breast implants created a need for bigger and more supportive bras. Models and celebrities donned fashionable and extravagant bras, so showing these at red-carpet events became the norm.

During the 1990s, marketing, and advertising often appealed to fashion and image over fit, comfort, and function. Starting in 1994, manufacturers re-focused advertising, moving from the functionality of support and foundation to selling fashion lingerie, often with impractical additions such as scratchy lace. Notably, Victoria's Secret became popular with its sexy ads featuring supermodels Alessandra Ambrosio, Tyra Banks, Gisele Bundchen, Naomi Campbell, Laetitia Casta, Helena Christensen, Eva Herzigova, Heidi Klum, and Adriana Lima.

By 2001, bras were a $15 billion industry in the United States and a £1 billion industry in the United Kingdom. Large corporations such as HanesBrands Inc. controlled most bra manufacturing., Gossard, Berlei, and Courtaulds controlled 34% of the UK market.

Two design challenges that bra manufacturers faced in the 2000s seemed paradoxical. On the one hand, there was a demand for minimal bras that allow plunging necklines and reduce interference with the lines of outer garments, such as the shelf bra. On the other hand, body mass and bust size were increasing, leading to a higher demand for larger sizes. Over ten years, the most common size purchased in the United Kingdom went from 34B to 36C. In 2001, 27% of United Kingdom sales were D or larger.

The 2000s brought two large design changes to the bra. The molded one-piece, seamless bra cup became ubiquitous. These bras are heat-molded around round synthetic fibers or foam forms that keep their rounded shape. This construction can include padded bras, contour bras, and "T-shirt bras". Floral or patterned prints also became popular in the 2000s.

In 2008, pop singer Madonna started a fashion trend by wearing a bra on the outside of her clothing.

In the late 2010s and early 2020s, bralettes and soft bras started gaining in popularity, to the detriment of underwired and padded bras. At the same time, the popularity of brands like Victoria's Secret decreased significantly. In 2017, the sales of cleavage-boosting bras fell by 45%, while at Marks & Spencer, wireless bras sales grew by 40%. Some have attributed the rising popularity of bralettes to a new focus on the "athletic body, health and wellbeing" rather than "the male gaze", while others suggest a connection to the #MeToo movement.

Bralettes have also become popular during the COVID-19 lockdowns due to a focus on comfort while working from home. Sport bra sales increased 32% during the pandemic, while bralettes and wireless bras were up 5%.

In 1968, protestors at the Miss America protest symbolically threw several feminine products into a "Freedom Trash Can". It was reported that bras were included, which the protestors called "instruments of female torture. A local newspaper story reported that bras and other lingerie were burned at least briefly that day, noting, "As the bras, girdles, falsies, curlers, and copies of popular women's magazines burned in the Freedom Trash Can, the demonstration reached the pinnacle of ridicule when the participants paraded a small lamb wearing a gold banner worded Miss America." However, feminist participants later said that no one burned a bra, nor did anyone take off her bra.

Female reporter Lindsy Van Gelder who covered the protest drew an analogy between the feminist protesters and Vietnam War protesters who burned their draft cards. The parallel between protesters burning their draft cards and women burning their bras was encouraged by some organizers, including Robin Morgan. "The media picked up on the bra part," Carol Hanisch said later. "I often say that if they had called us 'girdle burners,' every woman in America would have run to join us." Feminism and "bra-burning" became linked in popular culture. The analogous term "jockstrap-burning" has since been coined as a reference to masculism. While the protesters stated that they did not burn bras that day, some stopped wearing them in protest.

Author and feminist Bonnie J. Dow has suggested that the association between feminism and bra-burning was encouraged by individuals who opposed the feminist movement. "Bra-burning" created an image that women were not seeking freedom from sexism but attempting to assert themselves as sexual beings. Some saw the bra burning women as law-breaking radicals, eager to shock the public. Some feminist activists believe that anti-feminists use the bra-burning myth and the subject of going braless to trivialize what the protesters were trying to accomplish at the 1968 Miss America protest and the feminist movement in general.

Germaine Greer's book The Female Eunuch (1970) became associated with the anti-bra movement because she pointed out how restrictive and uncomfortable a bra could be. She wrote, "Bras are a ludicrous invention but if you make bralessness a rule, you're just subjecting yourself to yet another repression." In 1984, feminist Susan Brownmiller took the position in her book Femininity that women without bras shock and anger men because men "implicitly think that they own breasts and that only they should remove bras."

In 2005, feminist author Iris Marion Young wrote that the bra "serves as a barrier to touch" and that a braless woman is " deobjectified", eliminating the "hard, pointy look that phallic culture posits as the norm." Without a bra, in her view, women's breasts are not consistently shaped objects but change as the woman moves, reflecting the natural body. Young also believes that training bras are used to indoctrinate girls into thinking about their breasts as sexual objects and to accentuate their sexuality. In 2007, Young wrote that women are subjected to " capitalist, patriarchal American media-dominated culture [that] objectifies breasts before such a distancing glance that freezes and masters." Academic Wendy Burns-Ardolino wrote in 2007 that women's decision to wear bras is mediated by the " male gaze".

While the modern era has evolved almost directly from the proto-bra of the Middle Ages, Asian cultures have invented garments that serve similar purposes.

Over its long history, China has produced many types of women's undergarments that serve congruent purposes to those of the European bra and corset. The most well-known example is the ( Chinese: 肚兜, 兜肚, or 兜兜; also known by other names), a diamond-shaped garment used to flatten the breasts and preserve the stomach which was developed in the Qing dynasty. Other similar items of clothing include:

The first historical reference to breast-support garments in India is found during the rule of King Harshavardhana (1st century CE). Sewn bras and blouses were very much in vogue during the Vijayanagara empire and the cities brimmed with tailors who specialized in the tight fitting of these garments. The half-sleeved tight bodice or kanchuka figures prominently in the literature of the period, especially Basavapurana (1237 CE), which says kanchukas were worn by young girls as well.

The yếm is a traditional Vietnamese bodice or undergarment that evolved from the Chinese dudou, brought to Vietnam during the Ming-Qing dynasty. It was worn by women from all classes with a skirt called váy đụp. Although the yếm's popularity died out in the 20th century due to Westernization, it has recently seen a revitalization with the invention of the modern áo yếm, which is slightly different in style.

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The history of bras (brassières; variously pronounced) is closely tied to the social status of women, the evolution of fashion, and shifting views of the female body over time. Throughout history, women have used various garments to support, cover, restrain, reveal, enhance, or modify the appearance of their breasts.

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Rosie

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Zinnia Embroidery Wired Balcony Bra F-H | Rosie | M&S

# data[].attributes.attachment_link.description
Feminine styling and effortless comfort combine in this balcony bra from Rosie Exclusively for M&S. Designed to flatter a fuller bust, this wired piece lifts and enhances for a rounded silhouette. The cups are non-padded for natural shaping. Swiss-designed floral embroidery adds an intricate look, and complements the soft textured satin fabric.

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Bra Materials and Fabrics for Different Parts of Bras

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Bra is one of the most necessary clothing of all types, which is significant for millions of women wearing everyday. In this way, the bra can be a profitable commodity in the long term.If you want to buy a bra, you should know some basic information and choose the most suitable one.

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When completing the comp shop , Ann summers was one of the brands i chose to look at physically , this is because , when they have new collections they come out in all sizes up to an H , however , when your size isn’t available they have a small chart attached to the label , that shows whether or not they stock your size in that bra. If it doesn’t there isn’t a dot , but if there is , there’s a dot.

I think this is a really clever way of showing what sizes they stock without wasting loads of stock and they don’t waste as much room in the shop floors.

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Intimissimi is a very different brand to the others i looked at , there style is more luxury , however the materials they use , aren’t all that comfortable , one bra i took photos of , was very appeasing to the eye. However was uncomfortable to the touch.
Most of their sizing as well is aimed towards women of smaller sizing , however in some of their ranges they do cater for larger , its just very limited.

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Marks and Spencers , aims towards any one of shape , size , skin colour , skin condition. However most of the lingerie created is very unappealing to the eye , as well as uncomfortable to touch.
However , they have a massive lingerie department in their stores , and even did a collaboration and created a collection called Rosie , she creates a affordable sleepwear and lingerie wear , however using luxury materials , such as silk

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Selfridges lingerie department was very small , it had small amounts of brands such as skims , lounge , Calvin klein , and more , however the sizing and option was very limited as well as the styles and look of some look uncomfortable , as well as the sizing didn’t really cater for all sizing .

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All of skims clothing is made of a comfortable stretch material , and caters for all sizes up to a 6XL , however , even though it looked appealing to eye and comfortable , most of the clothing was see through.

However the good thing about skims clothing is that is caters for larger sizings and is comfortable for everyone.

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5 Must-Try Lingerie Trends for Summer 2024 | Rigby & Peller United Kingdom

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These trends will take your lingerie wardrobe to a whole new level. Our mission sounds the same: to make women feel beautiful with the right lingerie, and every woman deserves that every day. Introducing the top 5 trends of spring summer 2024.

1. Lace and mesh

Lace and mesh lingerie is a favourite of many women because of its seductive look and comfortable feel on the skin. The combination of delicate fabrics adds a sensual touch to any outfit. Refinement and elegance at its best!

2. Go for bright colours

Bright and bold colours are a must for your lingerie drawer this season. From fiery orange with a floral print to bright yellow, this lingerie is sure to make you shine!

3. Comfy bras without underwire

Wireless bras are the must-have style for this season! They feel like a second skin and offer you support in a natural way. Discover our wireless bras in all kinds of trendy colours and materials.

4. Timeless white

White lingerie is a timeless classic that never goes out of style. Especially in summer, white lingerie is a real lifesaver under light clothing. There are so many shades of white to choose from, from milky white to cream, something for everyone!

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5 Must-Try Lingerie Trends for Summer 2024 | Rigby & Peller United Kingdom

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These 5 lingerie trends you'll love: Discover your favourite trend for summer 2024!

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As we step into 2024, the world of lingerie is abuzz with exciting trends that promise to elevate your intimate wardrobe. From vibrant hues to whimsical sheers, let's explore the must-have styles for this year.

1. Peach Fuzz: The Pantone Color of the Year

Peach Fuzz, the delightful shade crowned as thePantone Color of the Year, has made its way into lingerie collections. This soft, warm hue exudes femininity and pairs beautifully with delicate lace. If you're looking to embrace this trend, consider theCassiopee in Peach by Empreinte (pictured on the left) or a gorgeous Andres Sarda Turqueta set in Papaya (on the right). Its luxurious lace detailing and flattering silhouette make it a standout choice.

2. Pretty in Pink: A Timeless Favourite

Pink remains a perennial favorite in lingerie, and 2024 is no exception. Brands like, Dora Larsen(Millie organic cotton set, centre)Prima Donna Twist (Verao Full Cup Bra on the left), Cosabella brallette on the right and Stripe & Stare with their pyjamasare celebrating all shades of pink. Whether it's blush, rose, or bubblegum, pink lingerie adds a touch of romance. Slip into a silky pink chemise or opt for a lace-trimmed bralette-the options are endless.

3. Zesty Lime: A Bold Statement

Bright Limeis making waves in the lingerie scene. Brands like Prima Donnaand Andres Sarda are infusing their collections with this vibrant color. Imagine lime green lace peeking out from under a sheer blouse or a lime-hued bralette adding a playful twist to your everyday look. It's a daring choice that screams confidence.

From left to right are: Sophora set in Lime Crush by Prima Donna with removeable strap details, Yoly in Electric Summer by Marie Jo and Eve full cup bra with Rio brief in Golden Apple by Andres Sarda.

4. Whimsical Sheers: Bridal Magic

For brides-to-be,Aubadeintroduces a new bridal range featuring whimsical sheers. Picture delicate tulle, intricate embroidery, and barely-there fabrics. These ethereal pieces are perfect for wedding nights and honeymoon escapades. Whether it's a sheer chemise adorned with floral motifs or a lace-trimmed robe, embrace the magic of sheer elegance.

5. The Rise of Bodies

Bodysuits are having a moment in 2024. TheEcrin Body by Aubade (left) is a showstopper-a blend of sensuality and sophistication. Meanwhile, Empreinteis launching a new body in theMelody Collection (right), promising comfort, support, and exquisite design. Bodysuits seamlessly transition from day to night, whether worn under a blazer or as a standalone piece.

6. Khaki and Rich Blues: Swimwear Sophistication

Swimwear trends are taking a sophisticated turn. Khakiemerges as an unexpected yet chic choice for beach days. Imagine a khaki one-piece with strategic cutouts or a high-waisted khaki bikini. Additionally, rich blues -deep navy, azure, and cobalt-are ruling the swimwear scene. Opt for a classic navy swimsuit or a bold blue bikini to make a splash.

7. Soft Bras: Comfort Reigns Supreme

Soft bras and bralettes continue to dominate. These wire-free wonders offer support without compromising on comfort. With an array of new designs and bright color pops, you'll find soft bras that blend seamlessly into your daily routine. Whether you're working from home or heading out, soft bras ensure you feel fabulous all day long.

In summary, 2024 celebrates a harmonious blend of color, comfort, and elegance. From peachy hues to sheer delights, update your lingerie drawer with these irresistible trends. After all, feeling beautiful from the inside out never goes out of style! 🌟💕

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Lingerie Trends of 2024: A Splash of Color, Sheer Elegance, and Comfort As we step into 2024, the world of lingerie is abuzz with exciting trends that promise to elevate your intimate wardrobe. From vibrant hues to whimsical sheers, let's explore the must-have styles for this year. 1.

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Speaking volumes through intricate designs and details, the Sri Lankan apparel industry is a trusted companion of the global fashion industry. Apparel made under the 'made in Sri Lanka' label has championed the world of clothing, making powerful statements through the delicately woven fabric. One of the most widely celebrated export arms of the country, intimate wear produced in Sri Lanka is praised for its ability to provide quality, comfort and convenience simultaneously. Designed to suit the latest flavours of the fashion industry and sewn by highly skilled hands capable of putting even the best seamstresses to shame, Sri Lankan intimate wear is like a cloud-soft hug that comes in fabric.

Sri Lanka has an impressive portfolio when it comes to intimate wear. Nearly 5% of the global demand for undergarments is supplied from Sri Lanka. The country exports a range of bras, panties, lingerie, men's underwear and women's nightwear.

How Did the Sri Lankan Intimate Wear Industry Grow?

Due to the economic liberalisation reforms in 1977-1979, the Sri Lankan apparel industry saw accelerated growth, both on vertical and horizontal axes. This was further bolstered by the second wave reforms that followed in the first half of the 1990s. The Sri Lankan intimate wear industry, too, was a direct beneficiary of these economic reforms. As value-added products came out of Sri Lanka, by the end of the 1990s, the intimate wear industry had found its place in the fashion field with a well-developed customer base consisting of global high-end brands like Victoria's Secret, Marks and Spencer, Sainsbury's, Tesco, Tommy Hilfiger and Gap.

Notably, the buyer profile of Sri Lankan intimate wear didn't include mass retailers such as Wal-Mart and Target. Instead, Sri Lanka catered to and partnered with speciality retailers and brand marketers like Mark and Spencer who sought greater variety and placed smaller orders that were per the country's still-growing apparel industry capabilities. This was a blessing to the industry as it enabled closer relationships with global brands. Local manufacturers worked intimately with global brands and this allowed the imparting of technical, managerial and marketing savoir-faire that proved to be instrumental for the development of the Sri Lankan intimate wear industry.

Who Are the Main Buyers of Sri Lankan Intimate Wear?

Nourished through such rapports and growing at a brisk pace, it didn't take Sri Lanka long to become one of the world's most acclaimed intimate wear producers. Today, Sri Lanka is the second-largest exporter of undergarments to the USA and the EU, accounting for 10% of the supply to each market. Sri Lanka has successfully retained the customer base it had in the 1990s and still works with global brands like Victoria's Secret, H&M, Tommy Hilfiger and Mark and Spencer. 5 million out of 70 million panties produced per year by Victoria's Secret comes from Sri Lanka. Sri Lanka also supplies 15 million bras, 10 million sleepwear items and 2.5 million swimsuits per year for various Victoria's Secrets ventures.

Even with countries like Bangladesh and Cambodia providing relatively cheap apparel, Sri Lanka has been able to retain, and, more importantly, increase its exports throughout the years. The driving force behind this steady growth is how the Sri Lankan apparel industry functions. Or, in other words, the brand image that Sri Lanka has created through ground level practices in the industry.

How Is Sri Lankan Intimate Wear Produced?

Ethically Made Garment Without Guilt

Drawing attention to good workplace conditions and the rights of workers, the Sri Lankan apparel industry is 100% ethical and guilt-free. Sri Lanka is one of the first in the world and the only one in South Asia to sign the 39 ILO Core Convention. Honouring the convention, Sri Lanka ensures that each piece produced in the country is free of child labour, sweat-shop practices, discrimination and forced labour. Consequently, Sri Lankan, intimate wear has become a much sought-after symbol of guilt-free clothing popularized by the #whomademyclothes movement.

Attention to Sustainability and CSR responsibility

The Sri Lankan apparel industry is highly conscious of its sustainability and CSR responsibility. Spearheading the sustainability of the apparel industry, Sri Lanka is the proud home to Asia's first green factory - Mihila by the Hirdaramani Group. In addition, the Sri Lankan apparel industry also makes sure to do its part towards society, implementing manifold CSR projects with every passing year.

A workforce that is highly skilled and sophisticated

Thanks to the public education system that provides free education up to the tertiary level, the Sri Lankan workforce is highly skilled. As research suggests, they are adept at comprehending and producing intricate designs and perform well on detailed work processes. Their skills and education aid them in colour management, sewing complex details, quality assurance etc., thus enhancing the quality and the aesthetic spirit of Sri Lankan intimates.

Who Are the Main Exporters of Sri Lankan Intimates?

The main manufacturers and exporters of intimate wear from Sri Lanka are Brandix, MAS and Hidramani.

Brandix

As a leading apparel manufacturer in the region, Brandix produces lingerie and men's and women's underwear. Located in Ragama, Sri Lanka, Brandix takes pride in producing phenomenal and innovative designs that provide the comfort the human body craves.

MAS

Apart from being a major supplier for global brands like Nike, MAS has also built its intimate wear portfolio. It launched its lingerie brand Amante in India in 2007, catering to Asian women mainly. Ultimo, their intimate wear partnership in the UK, has always been a celebrity favourite, with global icons like Mel B on the top of its client list.

Hirdaramani

Always giving priority to green apparel manufacturing, intimate wear produced and exported by Hidramani resonates with clients through their masterful melange of chic patterns and comfort to suit modern busy schedules.
Discover Sri Lankan Exporters of Intimate Wear >

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Intimate Wear from Sri Lanka - EDB Sri Lanka

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Sri Lanka is one of the leading manufacturers of intimate wear including men and women underwear, corsets, bustiers and sleepwear for leading brands in the global market.

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What you need to put on a lingerie care label ? - Van Jonsson Design

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Fibre content

Fibre content must be shown in percentages, ie 95% cotton 5% elastane, if the lingerie is made from two different fabrics then you need to state Body: insert fabric percentage, Lining: insert fabric percentage.

Any decorative item (elastic or bows) that makes up less than 7% of the garment is excluded, but may be worth mentioning ie 95% cotton 5% elastane excl. trims.

It is okay to put the fibre content on the swing ticket or packaging,(UK law) it just makes it easier for recycling afterwards if it is on the label.

Washing Instructions

There are different washing instructions depending what country you live in

These systems are:

The International Care Labelling System

The Japanese Care Labelling System

The Canadian Care Labelling System

The European Care Labelling System

The American Care Labelling System

They will have similar instructions and orders of the information so please check what order you have to put the instructions in - the instructions need to have the following

1. Washing - hand wash/machine wash & temperature

2. Bleaching instruction (do not bleach )

3. Drying method (do not/tumble dry / line dry / flat dry / drip dry)

4. Ironing (do not iron / cool iron / warm iron / hot iron)

Warnings are usually used with nightwear and childrenswear, you need meet flammability regulations on your fabrics and carry a permanent label indicating whether they meet the flammability standard BS-5722 if you are unsure you need to put KEEP AWAY FROM FIRE in red and in an Arial font at least pt.10 in size.

In the UK washing instructions are not mandatory however, I would always advise putting them in to save you from returns from people stating they didn't know how to wash the garment.

Where garment made

You don't have to state where the garment is made if you make it in your own country, but Fraudulent origin labelling is illegal, ie you make the lingerie in China but have a British flag on your label. If you make your lingerie outside your country and are importing it You have to state where the garment was made. For example if you get your lingerie made in China but are based in another country, you must state MADE IN CHINA, you can however if you want to appeal to your local market and you were say based in USA; you can put MADE IN CHINA, designed in USA.

Size

In the UK by law you don't have to add a size label - this is because there is no standardisation in sizing. Which is why you can two sizes that fit you differently. However I would encourage to put a size in your garment, otherwise it's going to get mega confusing when you have all the stock around you and no idea of sizes.

General information

When exporting lingerie you don't permanent care label in your lingerie, but you do need it when it goes on to be sold.

The label must be made permanent in the garment - ie is sewn or printed on.

If you are stocking in Europe it may be wise to put a translation in that language on your garment, but since the UK leaving the EU this is not mandatory.

Until the new UK legislation comes into play, even though the UK has left the EU, certain pieces of the EU legislation will still apply until they are replaced by the UK legislation.

For more information about labels - please see How to be a lingerie designer.

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What you need to put on a lingerie care label ? - Van Jonsson Design

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Awhile ago I wrote about what to put on care labels in your lingerie. Having followed a call with a client I'm working with, I went through what exactly needs to go on the label. So I thought I'd run over the points again in more detail.