A. Introduction As the name suggests, underwear or undergarments are clothes wore under the typical outerwear such as shirts, dresses jeans, breeches among others. Some, especially to those provocatively sexy in nature, opt to use these as outerwear. Examples of these are nightwear, swimwear and corsets. However, it is dictated that they be of suitable material for propriety, functionality and safety. Likewise, pieces of underwear are typically worn next to the skin. Brasseries, knickers, boy shorts and other pieces of lingerie. These are only some examples of female underwear commonly used today. It’s not outlandish to be very well acquainted and in possession of such garments; thus, the female underwear has always been subject to much ubiquity. But just like most other mundane object in this world, these pieces of underwear have undergone an evolution. In the western world, these pieces of underwear have transformed not only in terms of their personal appearance, but in their functions, as well. With regard to its physical appearance, the most striking difference is the size. The past’s underwear was gargantuan compared to today’s. For instance, the corsets back then covered even the abdominal area along with the bust while our brasseries today provide only ample support for the bosoms and leaves the abdomen completely exposed. Moreover, the bulky crinolines, farthingales, bustles and petticoats have been completely disregarded, except for formal occasions for the petticoats. Skirts aren’t normally as full at present, as it is not feasible in our bustling world today. The female underwear diminished over time due to practicality and to improve mobility. On the other hand, the rationale behind the gigantism of yesteryears’ underwear is its function as a method of class distinction. From the Renaissance Period to the early 1900s, with the empire period as an exception, the big skirt and the figure of a woman with a small waist were the markings of a fine lady: the bigger the skirt and the smaller the waist that it gives, the higher a woman was in society. There are other manifestations of the evolution of female’s underwear in the western world. This paper basically aims to give an in-depth discussion of the transformation of the western world’s underwear. Among those discussed here are the different types of underwear used, their functions and production at each era. Also, this paper will tackle how these pieces of underwear have been altered after some time to meet the needs of the people, and the factors which may have influenced these alterations and brought the need to create new types.

B. Ancient World The female underwear first made its presence felt in the Minoan Civilization at around 1700 B.C. Ancient Minoan artifacts such as wall murals and painted potteries depicted the typical scenes in the magnificent palace of Knossos, which captured the costume worn by the Minoan females. Statuettes were also recovered and became a source of information. From these relics, it was deduced that the females wore what is considered as manifestations of the corset and the boned crinolines. As corsets, the women wore tight-fitting short-sleeved bodices which were laced up below the bust, thus leaving the bosoms exposed and lifted up. Also, they wore a bell-shaped skirt, which achieved its shaped through the help of hoops of rushes, metal or wood which stretched the bottom half of the skirt—a striking similarity with the crinolines!

C. Medieval Period During the medieval period, the function of underwear was purely utilitarian, relative to the lavish outerwear of that period. It was not used for sexual attraction as it was often not seen, nor was it used as a method of class distinction. However, the quality and workmanship of underwear used by each social class varied. The higher classes used linen, whereas the lower ones used coarse woolen materials. As the use of underwear was solely for practicality, the garments were mainly used to protect the skin from the harsh surface of the outerwear, which the underwear also protected from body waste secretions. Also, the underwear was a symbol for the discipline of humility, as pilgrims often voluntarily appear only clad in their underwear as a sign of self-abasement. The underwear may also has connotation of punishment and seeking absolution, as shown by Emperor Henry IV, who was clad in a woolen shirt and naked feet for three days when he was seeking forgiveness from Pope Gregory VII. There was only one main undergarment during the medieval period: the smock. However, there was little evidence of stays and bustle. The smock, or chemise, is slipped on over the head with the neckline either wide-enough to fit the head or having a slit down the front. The chemise was flowing and ankle-length with long straight sleeves, parts of which were shown when slashing of outerwear became a fad. The neckline and hemline were also normally pleated and embroidered. Moreover, aside from the fine linen and hemp worn by the upper class and lower class respectively, a silk mixture called chainsil and silk textiles such as cendal and samite were used.

D. Renaissance Period The Renaissance was considered to have started with the end of the war of Roses which brought the Tudors into power. The regime of the Tudors, on the other hand, had a profound effect on the nature and purpose of clothes. Thus, there is a huge difference between the Middle Ages and the Renaissance, such as regarding underwear. The renaissance underwear is more dynamic and had a lot of innovations, especially as it ceased to be merely of utilitarian in nature. The underwear of the renaissance period functioned as a method of class distinction, with the size of the skirt as an important factor. In the renaissance world, a big skirt was tantamount to being in the upper portion of society. The underwear also assisted the structure of the outerwear, such as with the growing size and shape of the skirt. Likewise, it was used again to protect the skin, and the outerwear from body secretions, especially as cleanliness was not valued at this period. And lastly, it had uses for sexual eroticism—but only to some extent. This is as the Renaissance took importance of the idea of Puritanism. As aforementioned, the smock was still widely used at this period. The smock continued to be embroidered and be seen due to the slashing fad. Also, it was still slipped on over the head. However, the materials used were different: cambric or holland, silk and lockearm for the unfashionable. The sleeves ceased to have long straight sleeves—the Renaissance chemise had full sleeves which were gathered into narrow bands at the wrist. The neckline was also different, especially to accommodate the different necklines of the outerwear. For the high-neck gown, the collar of the chemise appeared on the upper part in a frilled border to be loosely tied at the neck with a string. On the other hand, the outerwear with a square-cut, deep décolletage, the chemise used was low-necked. Various pieces were also introduced: the waistcoat, stays, petticoat, farthingale and drawers. The Waistcoat resembles our modern-day vest, although it is more lavishly enriched with “wrought-work” to effectively manipulate the figure. These were normally hidden, with the ornate ones partly visible. However, the pair of stays was more effective in manipulating the figure. The Pair of Stays is used to make the waist smaller; thus, it is considered an orthopedic instrument. And since it flattened the abdomen and a bit of the bust areas, this undergarment consequently pushed the breasts. Likewise, it had shoulder straps and tabs at the waist to adjust to body’s form. This undergarment, which may have taken the form of an under bodice, resembled an armor with holes for fastening which most often were at both the front and back—henceforth earning the moniker of an “iron body.” It was hardened by wood or whalebone which was inserted into casings in the bodice. The Petticoat, on the other hand, was used to expand the skirt of gowns. It was normally made of red cloth, frozado and mockado. The fashion at that time normally used two petticoats: an under-petticoat and a visible garment. The undercoat was normally plain, as it was not seen. The visible garment, on the other hand, was of a rich material. Moreover, the part that was exposed through a triangle slit was richly ornamented. But when the skirt size further increased, the farthingale was invented to support the expanding skirt. The farthingale is a petticoat supported by a series of graduated hoops of cane, wire or whalebone; thus the farthingale gave the skirt a conical shape. However, the French also had a variation of the farthingale. The French farthingale was shaped like a horizontal Ferris wheel but had more “layers.” And as support, a bum-roll was worn, as well. However, the bum-roll was suffice to support the skirt so it eventually replaced the farthingale. It functioned like the bustle, on that it was placed around the hips and tied in front with a tape or ribbon. And lastly, linen drawers, or strousers, were used by Italian women. Drawers are tantamount to our modern pants. These were either knee-length or reached the ankles.

E. Baroque and Rococo The Baroque and Rococo period was marked by the reign of the Stuarts. In this period, the function of underwear, particularly in defining the size of the skirt, continued to be a method of class distinction and was still used for protection. However, the female underwear functioned for sexual attraction at a very intense degree, as compared to that of the Renaissance. The chemise continued to be used, although it was altered again. It also earned a new name: the shift. The chemise retained its low-neckline, especially since the outerwear had a décolletage which was cut horizontally off the shoulders. The parts of the sleeves were also exposed, but the exposure was different. During the Renaissance, the sleeves were shown mainly through the slashing while the Baroque and Rococo chemise sleeves were shown below the sleeves of the gown itself. The sleeves were also fuller. It evolved from a balloon-shaped one to a funnel shaped one. The sleeve length was also different, as this period’s reached only the elbow. Likewise, the corset remained with the same material and functions but with some alterations. The lower margin of the Baroque and Rococo corsets still had tabs to adapt to the shape of the hips. The straps were also discarded, although it returned eventually. It was also fastened, but the distinct difference is the location of the eyelet holes—this period’s were located only at the back. Also, the back was higher than the front which ended in a point below the waist to contrast the fullness of the skirt. Farthingales and bum rolls became passé, on the other hand. Henceforth, the Petticoat returned, particularly those of the color red. As a result of the change in skirt support, the skirts became trained and flowing. Along with this, the bustle returned as the skirts has a concave figure at the buttocks area. However, these eventually disappeared and were replaced by the hooped petticoat, which is made of a strong material stiffened with graduating whalebone hoops. This undergarment evolved from a pyramidal shaped one, to a dome shaped until the front and back were flattened while the sides gained extra width. The exaggerated width, on the other hand, proved to be very difficult especially in passing narrow passages. To remedy this, the pannier or hoped bustles were introduced. The Pannier was worn on each hip, both of which have an opening for pockets to be suspended within. It also had three (3) metal hoops which may be hinged and folded when needed. The pockets, on the other hand, are detachable and shaped like a narrow bag with a center cut. This period was also witness to the habit shirt, although it was very short-lived. The habit shirt is a riding costume made out of fine cambric. It was long-sleeved and high-collared while the front was longer than the back. Ruffles surrounded the upper part of the front opening which was not fastened, although it had a long tape at the back to be tied around the waist.
F. Directoire and Empire The fashion of the Directoire and Empire Period was very different from its predecessor: the bulky and unnecessary garments were discarded to pave the way for neo-classicism. The fashion was heavily inspired by the classic and elegant style of the Greeks. The natural figure was favored, which was exemplified by the Empire Silhouette. With this silhouette, garments were closely fitted below the bust while the rests fall freely below. This change in preference is attributed to the French Revolution. After this event, people were averse to the aristocratic style. This period also marks the reign of Napoleon Bonaparte. Moreover, the puritan view of mind was abandoned. Thus, feminine underwear was very much reduced to the extent that it almost stopped its functions as an expression of class distinction and sex attraction. However, these were still somehow evident. The flimsy material of the dress effectively revealed the shape of the body—a method of sexual attraction. On the other hand, the idea of personal cleanliness was made important by the Macaronis of the 1770s. This principle thus became a method of class distinction. Due to the drastic change in fashion taste, most of the undergarments which supported the extravagance of the past’s outerwear were abolished. However, the corset and petticoat were sparingly used. The corset was still stiffened by whalebone, but it was primarily made of jeam or buckram. The tabs were also discarded due to the Empire Silhouette, while females may choose from either the long corset or the short corset. On the other hand, the petticoat used wasn’t as thick and it had an attached bodice. The petticoats were also made of cotton, cambric, linen and flannel. Bustles were also used, although it disappeared for a long time. This came in the form of small rolls which were sewn into the rear of the skirt. Eventually, the bustles evolved into detachable cylindrical-shaped objects which were taped or tied at each end around the waist. Among the underwear of the previous periods, only the chemise was evidently retained. However, it was simpler in construction. The chemise was straight, ungathered and typically knee-length. The neck-opening was square and edged with muslin frill. Also, the chemise ceased to be called as shifts as it had vulgar connotations. This period also introduced two kinds of undergarments: the drawers and the pantalettes. Both are made of knitted cotton and are used for the legs. Both have a waistband drawn together by back lacing which supports the tubular piece which encases the legs and is buttoned down. The difference basically lies in the length: the drawers end just below the knee while the pantalettes extend to the calf with the ends bordered with lace and trimmed with tucks. Also, the pantalettes are intended to be seen.

G. Romantic Period The Romantic Period shifted back to the fashion struck by prudence and excess. The circumference of the skirt and the trailing train was once again used to determine a woman’s social class. In the world of Romanticism, a gargantuan skirt and train determine a fine lady. Likewise, the underwear continued to have an erotic appeal. However, prudence was the criterion of this appeal, relative to the almost exposed figures of the Directoire and Empire Period. To the masculine mind, females were so delicate that they had to wrap themselves in layers of cloth. And in their eyes, such women were very attractive. Despite the change in figure, some undergarments were retained but with some alterations. The chemise continued to be shapeless and with a low square neckline. However, the chemise of this period had a falling flap alongside the neckline and short and full sleeves which were gathered into a band. The drawers were still evident and generally had the same form. Likewise, the bustle was still spread around the waist to aid the skirt’s dome-shape. The corset now was more widely used, as the thin waist became a trend again. It was attributed to emphasizing the breasts more. This undergarment was of the same material, but some were fastened in front with the guidance of the newly invented hard metal rings which now surround the eyelet holes. Likewise, the cambric petticoat was still used, although it had discarded the attached bodice and was thicker due to the bigger size of this period’s skirt. Under this, a knee-length petticoat of stiff material was normally used, with the “crinoline” as the most notable type. This “crinoline” is not the same as the caged crinoline which would be invented in the succeeding period. This type of under-petticoat is characterized by horsehair warp and wool weft which were pleated onto a waistband. Also, the lower half includes five (5) lines of piping which effectively stiffens this undergarment. The Romantic Period also gave rise to a new type of undergarment: the camisole. The camisole was normally white and was shaped to the waist by goring. It covered the corset and eventually replaced the function of the flaps of the chemise, which hung down from over the corset’s top to conceal it.

H. Crinoline period The Crinoline Period is characterized by the view regarding fashion and comfort. In most of the previous periods, comfort was sacrificed for the sake of fashion. The people chose to keep up with tight corsets and bulky frames for the sake of class distinction and sexual attraction. Although this period still had a tinge of such sacrifices, the mindset that fashion must adapt to our needs for comfort was emerging. This period was marked by ease and elegance, as well as the effects of this mindset to women. Women in this period weren't as constricted, due to various innovations in underwear and dresses. The women then became more mobile, which suits the bustling air of this period. For example, a walking dress that showed some ankles was created for playing croquet. Another innovation is the caged crinoline, although it was ridiculed for it allegedly symbolized the effective method of imprisoning or caging women. It is important to cite, though, that the convenience surpassed this stigma. Underwear was still involved in class distinction and sexual attraction, particularly due to the crinoline. The crinoline supported the big size of the skirt, which still marked a woman of high stature. However, the crinoline was eventually mass-produced when W.S Thomson patented it; thus, all social classes was able to acquire one. On the other hand, the crinoline swung while walking or lifted when climbing stairs. Consequently extensive glimpses of the legs were revealed. However, these were not the only functions of underwear at this period. The crinoline was also an aid to women empowerment, especially as it enabled women to do more tasks. In this period, the chemise, camisole, vests, drawers, pockets and corset were still widely used. The corset, however, suffered from an aversion for a time. Moreover, the corset was now open in front and was fastened by small straps and buckles while the back was laced. The distinct undergarment, on the other hand, is the crinoline. The crinoline, or the “caged petticoat” or “artificial crinoline” replaced the bulky petticoats and eradicated the inconvenience it brought along. The crinoline was quite similar to the Renaissance Farthingale, as both supported the size of the skirt. The crinoline was also initially of the same material as the Farthingale: whalebone. However, there are differences, as well. For one, the crinoline was later made of watch springs which may be hinged to make smaller if the occasion arises, such as in climbing stairs. Also, the Farthingale required the use of other supporters, such as petticoats and the bum roll. The crinoline on the other hand only required one to soften the hard cage and drawers to prevent much exposure. Henceforth, extra movements and activities were permitted.

I. Bustle Period The Bustle Period is marked by fashion’s shift to rigidity. However, a miniscule part of the freedom gained during the crinoline period may have been retained but only to an extent—a category of clothing may only be used in the countryside. Also, preferred colors were more somber in tones, which may have been attributed to the stiffness of this period. The underwear in this period had the same functions as the last’s, but in a different approach. Social class was distinguished only if one would keenly observe while sexual attraction once again preferred prudence. The underwear also exemplified women empowerment and freedom. It symbolized the growing awareness and acknowledgement that the woman’s niche is not constrained to attracting the male and expressing the social rank her husband has put her in. The bustle period still employed the almost the same undergarments. However, just like in the previous sections, there have been alterations. The chemise was of the same material, but the front now had an opening with buttons. It also had breast seams to save space. The drawers were also of the same material and length, but now had tucks and edgings at the knees area. The camisole become more fitting to the figure and had a heart-shaped opening. Also, Calico was the main material, although nainsook edged with frill or lace proved to be better. The vest was also used, although it was either long-sleeved or short-sleeved. The corset was also employed, but was formed with regard to tight-lacings. The fastenings were initially in front. However, fastenings transferred to the back when sheath-like dresses became in fashion. Suspenders were also attached to the bottom and clipped on the stocking. The bottom of a kind of corset, on the other hand, was in the form of a curve. This kind is called the Swan-Bill corset. The crinoline was also still very evident, especially those of the small size. It was composed of a few hoops suspended by bands from the waist, open in front to support the bustle. The horsehair petticoat, also called the crinoline, was used, as well the petticoat itself. However, the petticoat’s color was not as aggressive as the preferred colors before. On the other hand, this period also saw the invention of the Crinolette, which was hooped only at the back and may have flounces at the back. This period also gave rise to the combination, which originated from the idea of joining the chemise and drawers together. Its opening was either at the front or the back. The hip portion was circled with buttons for attaching the petticoat. Also, some had a high neck and long sleeves. But the main undergarment of this period is the bustle, which was altered several times at this period. The bustle initially had a few steels or whalebones inserted at the top of the rear part of the petticoat through the tapes attached to its inner side. After which, the bustle took the shape of a melon and was placed on top of the crinolette. It then extended down and had ruffles and flounces attached. At the end, the bustle was called the tornure or dress-improver as “bustle” sounded vulgar.

J. 1890s to The Period Before World War II The first part of the 20th century was witness to the introduction of lingerie or luxury undergarments, the creation of new pieces of underwear and elastane stretch fabrics due to technical developments, the 1st World War and its effects on fashion. Undergarments were also mass-produced. The advent of luxury underwear prioritized the utilization of cambrics, merino and silks over cotton longcloth and flannel. Lingerie was also characterized by lavish embroideries and lace trimmings. On the other hand, corsets were very useful as well, as the fashionable shape was highly sought-after in line with lingerie. With this, the brassiere was also introduced, initially as a cover for the bare bosom and as either a companion or alternative to the chemise. However, the corset eventually dropped below the bust; thus, the brassiere evolved into a closer-fitting, more supportive and more opaque covering for the breasts. Due to the brassiere, the focus shifted from the waist tot the breast. The brassiere was normally of cotton tricotrine, silk or satin. By the dawn of the World War One, fashion became in favor of the boyish look rather than the feminine one which has ruled the fashion world ever since. Brassieres took the form of the bandeaux, a strapless underwear worn around the woman’s breast, to flatten the breasts. Corsets were still present, although it was only boned at the sides with elastic gussets for a smooth hipline and flat abdomen. The slip was also invented to achieve this look. The slip resembled the chemise, and provided a sheath for the main dress. With the help of the slip, the figure was kept slim. The boyish look of the 1st World War was a result of the male’s flight to other countries to fight. The female had to replace the men and facilitate their previous work. Likewise, the women had begun to wear trousers, which paved the way for the transformation of drawers into knickers then into panties. Skirt lengths also went up from the calves to knees for convenience. Thus, much leg exposure sought the use of stockings which were still attached to suspenders. After the war, the fashion once again preferred the curvy figure of a woman. But since the camisole became obsolete by the 1920s, cami-knickers were used instead to achieve a flowing line. The cami-knickers were a combination of the camisole and the knickers: it was like a shortened princess petticoat but the part for the legs was joined. The fabrics normally used to make these are lightweight ones like Milanese silk, lawn and crepe de Chine. By the 1930s, the corset was not as widely used as before. Thus, the corselette replaced the corset, although the former has been invented even as early as 1921. This undergarment is a combination of the functions of the corsets and the brassiere .

K. World War II to the Present This period started with the World War II, which proved to be a hindrance in the production of underwear. As the production of weapons and other war paraphernalia was prioritized, the production of underwear took the back seat. The tools and factories used to create underwear were even used to for the production of war paraphernalia. There was also a rationing of clothing—no extravagance or wastefulness was allowed. Under this regulation, metal and elastics were not allowed. After the war, the hour-glass figure and glamour was in fashion again, influenced by Christian Dior’s New Look of 1947. Among the undergarments introduced was the bullet bra pointed bust, which included conical cups to support the breasts. This preference for luxury may have been brought about by the war, which has deprived the people of luxuries. During the decade of the 60s, on the other hand, the females were quite averse to bras as it was “the yoke of oppressive femininity.” To remedy this, women used bras of very lightweight material or Rudi Genreich’s “no-bra bra” which still supported the breasts but was not as restricting. The decade of the 70s continued this minimalist approach to underwear, as to keep up with the changing lengths of the outerwear. At this point, the woman has already achieved substantial independence, self-reliance and freedom. Thus, the shoulder pads were created to highlight the power woman already had at this time. Moreover, companies highlighted sexual appeal in their advertising campaigns. The people were very liberated at this point, to the extent that corsets were accepted as outerwear.