#10 the outlandish
Singin’ in the rain
The 1950s see the image of women grow omnipresent in the press, on advertising posters and in the cinema but also on black and white television screens – now more and more numerous in homes. From Broadway to Hollywood, these times of revival are conducive to musical comedy combining the joy of song with the lightness of dance. Dynamic and gymnastic, the body of the woman moves and is revealed in life as well as on-screen.
The couture houses develop their own accessories, perfumes and also lingerie. Fashion highlights the curves of the female body and privileges delicateness in undergarments: lingerie no longer supports the architecture of the garment but becomes an article of pleasure in its own right. Gaines-culottes, corsets, waist cinches, balconnets, and pointed bras take charge and put forward a feminine silhouette willingly embellished with Leavers lace.
In film, the fantasy of the cabaret dancer is recurrent, and an actress in her lace corset appear on the posters of many films. Marlene Dietrich opens the dance in Josef Von Sternberg’s The Blue Angel (1930) and is followed by Cyd Charisse in Singin’ In the Rain (1952) by Stanley Donen and Gene Kelly, Anouk Aimée in Lola (1961), a French film by Jacques Demy, then Sophia Loren in Yesterday, Today and Tomorrow (1963) by Vittorio De Sica, and even Liza Minelli in Cabaret (1972) by Bob Fosse. Lace shapes the silhouette of beauty icons with hourglass figures.