"to Jacob Connexion. Jacob Connexion's target demographic is 25- to 35-year-old women. The Jacob Lingerie boutique features items like bras, panties, lingerie, sleepwear and loungewear. Bra selection is sized 32A-B-C, 34A-B-C-D, 36A-B-C-D, 38A-B-C; panties XS-S-M-L; most other items sized XS-L. Josef stores opened in 2005 (5 initial stores). The product line is targeting 35+ years old women. Jacob Jr. was the branch for preschoolers to pre-teens. They featured a conservative line of clothing for girls ages five to 14. The line included sweaters, lingerie, jackets, jeans, sports attire, tees, camisoles and other accessories. They also carried a line of undergarments"
"and North America were wearing 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 that 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 together with some pink ribbon"
"the first patent issued to Mary Phelps Jacob. In the 1930s ""brassiere"" was gradually shortened to ""bra"". Wearing a garment to support the breasts may date back to ancient Greece. Women wore an ""apodesmos"", later ""stēthodesmē"", ""mastodesmos"" and ""mastodeton"", all meaning ""breast-band"", a band of wool or linen that was wrapped across the breasts and tied or pinned at the back. Roman women wore breast-bands during sport, such as those shown on the ""Coronation of the Winner"" mosaic (also known as the ""Bikini mosaic""). Fragments of linen textiles found in East Tyrol in Austria dated to between 1440 and 1485"
"the US. Although women had worn brassiere-like garments in years past, Jacob's was the first to be successfully marketed and widely adopted. By the end of the decade, trouser-like ""bloomers"", which were popularized by Amelia Jenks Bloomer (1818–1894) but invented by Elizabeth Smith Miller, gained popularity with the so-called Gibson Girls who enjoyed pursuits such as cycling and tennis. This new female athleticism helped push the corset out of style. The other major factor in the corset's demise was the fact that metal was globally in short supply during the First World War. Steel-laced corsets were dropped in favour of"
"design was the ""Pond Fort boot"", a close-fitting, knee-high boot that she patented in both the United States and Canada in 1880. Later clothing designs included a perforated felt chest protector, a sleeve holder, a waterproof leg protector, a detachable brassiere frame, and a corset shield. One of her early inventions was the ""Dart"" needle, first patented in 1884. She initially manufactured the Dart needle herself, making the first 60,000 on her own after the man she hired for the job absconded. She later had the needle manufactured by an outside firm. Other practical objects for the home included a"
"for swimming that we had ever seen. The one-piece garment of pure wool that Carl Jantzen designed eventually became the prototype for the rib-stitch swimsuits that were first produced in 1915. After weeks of discussion and searching for a name which we could use as a trade-mark, we were unable to agree upon any of the many names which were submitted to us. We were using the brand P.K. at the time, the initials of the Portland Knitting Company ... Both the names Zehntbauer and Jantzen were suggested to us by our friends, but neither of us was willing to"
"the 20th century by Mary Phelps Jacob. When the First World War broke out, women found themselves filling in men's work roles, creating a demand for more practical undergarments. Manufacturers began to use lighter and more breathable fabrics. In 1935 brassières were updated with padded cups to flatter small breasts and three years later underwire bras were introduced that gave a protruding bustline. There was also a return to a small waist achieved with girdles. The 1940s woman was thin, but had curvaceous hips and breasts that were pointy and shapely. In the 1960s the female silhouette was liberated along"
"of the most pronounced of that ugly type, only of course worn smaller than those worn before"". The new styles she described had a lace veil that could be worn forward or thrown back over the hat. A variation on the traditional stiffened coal-scuttle shape was the kappie (from the Dutch ""kapje""), an Afrikaans word for a women's sun-bonnet. This style of bonnet was also worn by some American Quaker women during the 19th century and is also similar to the Salvation Army bonnet that was first worn in 1880. The Salvation Army design was created by one of the"
"World War (1914–18) affected European fashion through scarcity of materials, and the mobilisation of women. By that time, Chanel had opened a large dress shop at 31 rue Cambon, near the Hôtel Ritz, in Paris; among the clothes for sale were flannel blazers, straight-line skirts of linen, sailor blouses, long sweaters made of jersey fabric, and skirt-and-jacket suits. Coco Chanel used jersey cloth because of its physical properties as a garment, such as its drape — how it falls upon and falls from the body of the woman — and how well it adapted to a simple garment-design. Sartorially, some"
"The Warner Brothers Corset Co. paid $1,500 for Mary Phelps Jacob’s patent for the brassiere - a move which helped boost revenues to $12.6 million by 1920. The Jazz Age and Flapper movement of the 1920s saw the desire for less restrictive fashions. Women had a more care-free attitude toward life and ditched the corset and pantaloons in favor of breast-binding bandeaus and step-in panties. This was a difficult time for the company. Sales through the decade declined and efforts made by the company to adapt to these changing times were met with little success. The Great Depression of the"
"assume their natural shape, rather than being molded into an aesthetic ideal. It was a soft-cup, light-weight, seamless, sheer nylon tricot and elastic bra only available for small-breasted women. It came in three sheer colors: powder puff, black, and white, and in sizes 32 to 36, A and B cups. It had a single hook in the back. The No Bra was a big departure from the sculpted, bullet-shaped bosom of the previous decade. It was quite similar to the original bra of the 1920s and like the first modern bra invented by Mary Phelps Jacob, two handkerchiefs attached to"
"with women from nine countries wearing swimsuits similar to Kellerman's swimsuit, which were similar to swimsuits worn by the male swimmers. In 1913, inspired by the breakthrough, the designer Carl Jantzen made the first functional two-piece swimwear, a close-fitting one-piece with shorts on the bottom and short sleeves on top. Silent films such as ""The Water Nymph"" (1912) saw Mabel Normand in revealing attire, and this was followed by the daringly dressed ""Sennett Bathing Beauties"" (1915–1929). The name ""swim suit"" was coined in 1915 by Jantzen Knitting Mills, a sweater manufacturer who launched a swimwear brand named the Red Diving"
"Kyeser described a diving dress made of a leather jacket and metal helmet with two glass windows. The jacket and helmet were lined by sponge to ""retain the air"" and a leather pipe was connected to a bag of air. A diving suit design was illustrated in a book by Vegetius in 1511. Borelli designed diving equipment that consisted of a metal helmet, a pipe to ""regenerate"" air, a leather suit, and a means of controlling the diver's buoyancy. In 1690, Thames Divers, a short lived London diving company, gave public demonstrations of a Vegetius type shallow water diving dress."
"with her then husband. She became known for her line of clothing made of real silk parachute material, which included the innovation of being adjustable in length and fit by draw string. Kamali designed the red one-piece bathing suit worn by Farrah Fawcett in the iconic 1976 poster. The suit was donated to the Smithsonian National Museum of American History in 2011. She is also credited with popularizing the shoulder pad in womenswear in the 1980s. Her work is included in the collections of the Metropolitan Museum of Art. Kamali was the first designer to create an online store on"
"of the 1920s and like the first modern bra invented by Mary Phelps Jacob, two handkerchiefs attached to a band and tied around the chest. Gernreich’s no-bra was little more than that. Both the 1920s and the 1960s celebrated the stick-like figure of adolescence, and with that meant small, flat breasts. His minimalist bra revolutionized brassiere design, initiating a trend toward more natural shapes and soft, sheer fabrics. The retail success of the No Bra was followed in 1965 with the next design, a ""no-side"" bra to accommodate dresses with deep armholes. It had a narrow stretch band around the"
"worn instead of stays for informal situations. Deriving from the French word jupe, which in the eighteenth century referred to a short jacket, jumps were only partially boned and padded with cotton to provide support for the breasts while not being restrictive. Jumps were made of silk, cotton, or linen and often embroidered. Jumps fastened over the breasts with ties such as silk ribbons, buttons, and sometimes, metal hooks. Both garments were considered undergarments, and would be seen only under very limited circumstances. Well-fitting eighteenth-century corsets were quite comfortable, did not restrict breathing, and allowed women to work, although they"
"an underskirt, sometimes with a waistcoat effect. This could be draped or undraped. In July 1894, ""The Sydney Mail"" stated: The polonaise underwent another revival in the mid-late 1910s. A 1914 newspaper advert for McCall Patterns found in the ""Evening Independent"" announced the 'redingote polonaise' to be the height of fashion in Paris and New York. The ""Reading Eagle"" ran a fashion column in November 1915 describing the polonaise of 1914/15 as a French design consisting of a long coat-like overdress of metallic lace or elaborately decorated sheer fabric worn over a plain underdress. Another version of the polonaise was"
"Barnsley called Annie E. Lockwood. She trimmed a bonnet chosen from straw designs supplied by local companies – initially the ribbon chosen was blue, but later this would become black. In design, it was similar to the poke bonnet that had been popularly worn by women earlier in the century. In 1881, the Salvation Army published some general rules prohibiting alteration of the distinctive bonnet. This was among the more identifiable parts of the uniform as the guidance at this time was simply to wear modest clothing suitable for a military organisation. The design also became popularly known as the"
"patterns, and her designs were carried in newspapers and in ""Ladies' Home Journal"", ""Australian Home Beautiful"", and other women's magazines. Her first book of patterns, ""Mary Card's Crochet Book No. 1"", was published in 1914. Four further numbered books followed. She also created larger-scale printed patterns for crafters with low vision. Her designs were distinctive in their use of Australian flora and fauna as inspiration. Several of her patterns, including one from 1916 depicting an Australian soldier, raised money for charities during World War I. She moved to the United States in 1917, and started the Mary Card Crochet Company"
"walk on the bottom. Standard diving dress is also sometimes known in the US as a Diver Dan outfit from the television show of the same name. In 1405, Konrad Kyeser described a diving dress made of a leather jacket and metal helmet with two glass windows. The jacket and helmet were lined by sponge to ""retain the air"" and a leather pipe was connected to a bag of air. A diving suit design was illustrated in a book by Vegetius in 1511. Borelli designed diving equipment that consisted of a metal helmet, a pipe to ""regenerate"" air, a leather"
"shortage of leather, McCardell commissioned Capezio to produce a range of ballet flats to match her designs. When the government announced a surplus of weather balloon cotton materials in 1944, McCardell quickly bought them up, using them to design clothes that patriotic American women wore with pride. In 1941, McCardell produced a line of separates that made nine outfits from five pieces. The pieces included a taffeta skirt, a jersey top, and a jersey jacket. That same year, she showed her first ""Kitchen Dinner Dress"". Made of cotton, the ""Kitchen Dinner Dress"" had a full skirt with an attached apron."
"'ship jacket' (similar to today's reefer jacket) for wear at night or in inclement weather in undress. In 1885, a white tunic, worn with white trousers and white sun helmet and black boots, was introduced for wear in hot climates, as well as a navy blue tunic and trousers, of the same cut, for wear in undress in temperate climates. On both garments, rank was initially worn on the sleeve: in white silk for the white uniform, in gold for blue. The blue tunic was replaced by the reefer jacket in 1889. The white tunic was redesigned at the same"
"Paco Rabanne. Italian-born Pierre Cardin was best known for his helmets, short tunics, and goggles. Paco Rabanne was known for his 1966 ""12 Unwearable Dresses in Contemporary Materials"" collection, which made use of chain mail, aluminum, and plastic. Although designer Mary Quant is credited with introducing the miniskirt in 1964, André Courrèges also claimed credit for inventing the miniskirt. The miniskirt changed fashion forever. The definition of a miniskirt is a skirt with a hemline that is generally between 6 and 7 inches above the knees. Early references to the miniskirt from the Wyoming newspaper ""The Billings Gazette"", described the"
"knitting and weaving. Instead the tradition of using scraps of fabric evolved. Yarns and other creatively used materials have always been used for hooked rugs in the Canadian Maritimes. The well-known Cheticamp hooked rugs used finely spun yarns and the highly collectible Grenfell mats were meticulously hooked with recycled jerseys. Everything from cotton T-shirts to silk and nylon stockings were cut and used. The Grenfell Mission had set standards for hooking with silk stockings as early as 1916. Pearl McGown, working at first under the tutelage of Caroline Saunders in the 1930s, has been credited with saving the craft from"
"""corselet"". The corselet as an item of women's clothing began to gain traction in 1914, as a substitute for wearing two separate pieces (a bra with either a girdle or a corset). The bust uplift cups were first introduced in 1933, but did not become common until 1943. 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. ""Merry widow"" remains a common generic term for a corselet in the United States. This new design featured demi-cups and a shorter girdle than its predecessors. This"
"uniforms were designed by the New York fashion house of Mainbocher to look professional and attractive. Their design services were secured (without cost) through the efforts of Josephine Forrestal, a former fashion editor at Vogue and the wife of the Assistant Secretary of the Navy. The winter uniform was made from navy blue wool, worn with a white shirt and dark blue tie. The jacket was single breasted and unbelted, with a six-gored skirt. Included were black Oxford shoes and cap and plain black pumps; a brimmed hat; black gloves; black leather purse, and rain and winter coats. The summer"
"was collarless with four patch pockets in tweed and gray flannel. The jacket could be mixed and matched with all three accompanying pieces: a short pleated flannel tennis skirt, a longer tweed skirt, and a pair of flannel cuffed trousers. In 1999, the ""New York Times"" wrote that the ""weekend wardrobe"" was ""so classic they could still be worn today."" In the 1940s, she designed a cotton coverall uniform for war workers at the Sperry Gyroscope Corporation. Known as the ""Rosie the Riveter"" jumpsuit or coveralls, they received an ""E"" for excellence rating from the United States government. They were"
"up designing six complete collections for Braniff hostesses, pilots and ground crew between 1965 and 1974. A mark of his impact was that by 1968 Barbie had versions of all of his first four uniforms. These avant-garde creations were designed as individual components to be added or removed as weather dictated. The uniforms included turtlenecks, T-shirts, crop jackets, and culottes. Among the more unusual innovations was a ""bubble helmet"" – a clear plastic hood worn by flight attendants between terminal building and aircraft to protect their hairdos from rain and the blast of jet engines. There were two designs of"
"are believed to have been bras. Two of them had cups made from two pieces of linen sewn with fabric that extended to the bottom of the torso with a row of six eyelets for fastening with a lace or string. One had two shoulder straps and was decorated with lace in the cleavage. From the 16th century, the undergarments of wealthier women in the Western world were dominated by the corset, which pushed the breasts upwards. In the later 19th century, clothing designers began experimenting with alternatives, splitting the corset into multiple parts: a girdle-like restraining device for the"
"movement the new swimwear designs provided, was second only to movies in popularity as free time activity out of a list of 94 activities. In 1935 American designer Claire McCardell cut out the side panels of a maillot-style bathing suit, the bikini's forerunner. The 1938 invention of the Telescopic Watersuit in shirred elastic cotton ushered into the end the era of wool. Cotton sun-tops, printed with palm trees, and silk or rayon pyjamas, usually with a blouse top, became popular by 1939. Speedo racerback silk suit that uncovered the shoulder blades almost resulted in disqualification of Clare Dennis at the"
"length made of linen or cotton. The chemise and stockings worn were meant to soak up any perspiration and protecting the outer clothing. Due to the many layers of dress, the women of the southern elite would take short naps to rest from wearing their large dress and escape the harsh southern heat and the constraining whalebone corsets. The Garibaldi shirt or ""Garibaldi jacket"" was popularized by Empress Eugénie of France in 1860. These bright red woolen garments featured black embroidery or braid and military details. Following a visit by the Italian revolutionary Giuseppe Garibaldi to England in 1863, the"
"be the first woman in New Zealand to wear trousers, which by 1940 she did almost exclusively. She recalled being spat upon on Queen Street for wearing trousers, saying it was one of the most frightening experiences of her life. The designs of Nancy Hudson made the label very successful in the 1940s, aided by US servicemen stationed in New Zealand purchasing clothes for their girlfriends. As Julia put it, ""as soon as we saw a Yankee uniform walking through the door, we were sure of a sale."" The store was redecorated in pink and cream with sliding-mirror cabinets; garments"
"or a cotton-Lycra blend or other stretchy synthetic. It is not necessary to wear a bra at night, although if a woman's breasts leak excessively, she can wear a loose tanktop at night. Choosing a functional nursing bra is important to help the mother feel comfortable nursing in various circumstances. In some Western cultures, while nearly nude or nude breasts are displayed openly on beaches and in magazines and movies, there is a taboo against showing breasts in public during breastfeeding. The first US patent for a bra was granted in 1913 to Mary Phelps Jacob. Her invention is the"