LITMIR.BIZ

      Another aspect of the upheavals since 1945 may be grasped all the better in the light of the words “consumer demand and mass communications” used to betoken the totality of social activities. A history lesson on the bikini would at once point out the importance of the combination of saleable goods and the benefits of advertising following World War II. It should perhaps be recalled that it was during a time of economic depression that the bikini was launched and the cinema re-launched. At the beginning of the 1950s, film directors made a lot of the “almost nude” look of the itty-bitty bathing costume in the hope of attracting ever more customers to their auditoriums. The popularity of the films they produced was, in turn, utilized by the designers of bikinis as a showroom to display their latest creations. It was possible to foresee the day of the publicity film-clip which had everything: goods that people wanted, described with attractive enthusiasm, all done artistically.

      All the same, the spread of “the smallest swimsuit in the world” did not follow solely from the newly liberalized social perception of the human body but relied on the application of that perception to the realm of women’s fashions. Anorexia and other eating disorders, the fanatical pursuit of sport and of bodybuilding, are only the latest manifestations of the changed vision of the human body that began in the 1950s – first as a new freedom, and then, for some, as a new norm that required discipline or constraint.

      All those aspects that might be included in the traditional history books are equally and demonstrably allied to the evolution of the bikini.

      This book tells the story of the bikini – its birth in a Parisian swimming-pool in the course of a stiflingly hot July afternoon in 1946, the scandal that followed (which relegated the bikini for ten years to the pages of illustrated magazines for men), its astounding breakthrough onto the cinema screen, the interest that it suddenly aroused in the fashion-houses, and finally its triumphant and eventually universal appearance on beaches the world over. For, from Brazil to the Mediterranean via the sandy stretches all along the Californian coast, the bikini has become an irreplaceable part of our aquatic recreational landscape.

      It may be brightly coloured, multi-coloured, or a simple single colour; it may be made of expensive material, of cotton or Lycra; it may spread across the hips or leave them largely bare with just a thong or string at the back; or it may consist of no more than brief triangles, like leaves that have somehow gotten stuck on the skin. Alternatively, it may be designed strictly for effect and present a veritable barricade over the breasts. All of these forms are known and seen on a daily basis everywhere we go.

      Golden orange bikini of Pain de sucre, 1990. Model: Sonia, Fam agency, Paris. Photo: Delavigne.

      Another photo from the beginning of the 20th century shows the American holiday resort of Coney Island and a group of happy bathers. The women are wearing swimsuits that resemble nightshirts. Most often deep blue with white stripes (a colour scheme that was widely used, especially in beach costumes for boys) in spirals, vertical lines or horizontal hoops. Such costumes extended down to the calves of the legs.

      A beach in northern Italy between Genoa and Santa Margherita Ligure around 1900. In the foreground are two couples walking at the water’s edge. The men are wearing dark-coloured costumes not unlike sportswear, while the women’s swimsuits are longish, reaching down to the knees. In the background are the crowds who have thronged to the semicircular beach of the bay – a scene that remains much the same today. To the right are the heads of a few swimmers, and to the left at the back is a complex of beach huts and entertainment tents.

      Retouched photo dating from the end of the 19th century showing a temporary changing-cubicle. The lady in the middle has already changed, and now waits within the shelter of a shell-shaped structure for her lady-friend to change behind a curtain. A third woman, perhaps the mother, is still fully dressed on the right. She wears a hat and a neckerchief, and stands erect behind a chair holding a parasol. In the distant background, two other women are walking on the beach. The whole scene is undoubtedly staged very carefully to present a somewhat risqué view of the state of undress of the young lady who is changing. this could be classedas an erotic picture.

      Comprising two pieces of fairly thin material, generally following a double-triangular design, it does not seem to hold much promise when seen dangling from a hanger. But on a woman, it undergoes an incredible transformation to behold! Those two pathetic bits of cloth you might have thought were only accidentally on the

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