Boudoir style is a fantastic euphemism that has, over the centuries, covered everything from oil studies of bathing beauties concealed in steamy vapour and draped in cotton towels, to erotic pastels of semi-nudes and through-the-keyhole views of models in little nothings. The genre encompasses a whole litany of artistic techniques and features a dictionary of lingerie from bloomers and French knickers, to corsets and peignoir gowns. And now, it seems, boudoir is back on the agenda, as designers tempt us with the seductive language of déshabillé.
In these jolting, hard-edged times, the mood offers up an escape, a sprinkling of flirtation and suggestions of intimacy. There are plenty of inspirations to pull on. The genre has swerved in and out of fine art (François Boucher, Jules Hippolyte Ravel, Lawrence Alma-Tadema); early photography (EJ Bellocq’s studies of prostitutes in Storyville, New Orleans); and flickered through a century of fashion shoots and movies. Pretty Baby by Louis Malle (1978), starring Brooke Shields, was inspired by Bellocq’s documentary work in Storyville and triggered a vogue for lace-trimmed bloomers and camis. Meanwhile, Sydney Pollack’s They Shoot Horses, Don’t They? (1969), revealed another bonanza of boudoir moments, as Jane Fonda and her fellow contestants battled for survival in a Depression-era dance marathon. Flimsy house dresses, slip dresses and marabou once again found their way into high style.
The film inspired Alexander McQueen’s exceptional Spring 2004 Deliverance collection that was shown in the gilt- and velvet-swaggged auditorium of the Salle Wagram in Paris and choreographed by Michael Clark. Models danced to ‘exhaustion’ in the round, fainting in dramatic poses into the arms of sailors wearing tap shorts and stockings; crystal-strewn bias-cut gowns draped low over corset tops. It triggered a trend surge in corsetry, camisoles and lace, just as we are witnessing now.
‘Satin slip dressing has been trending for a few seasons, initially in a sleek 90s way; now it is taking a more lavish, glamorously nostalgic direction reminiscent of the 1920s and 1930s,’ says Net-A-Porter’s buying manager, Lydia Zacharis. ‘See it in luxurious fabrics such as silk and lace, corsetry, sheer details and pastels, but also marabou-trimmed chinoiserie robes and kitten-heel mules. Brands including Chloé, Saint Laurent, Conner Ives and Doën have been leading the way.’
The sense of lavish is a huge attraction with marabou trims and off-the-shoulder soigné effects worthy of Marilyn Monroe. But where these styles were originally conceived for indoor pleasures and intimate moments, the new chapter takes boudoir out into the open. How to transfer? Zacharis recommends lace-trimmed camisole tops paired with tailoring and kitten heels, semi-sheer slips with chunky knits or lingerie-feel satin slips under leather jackets (a Zoë Kravitz favourite). Stylistically, think about playing off opposites – even a baseball T-shirt looks good with a lace-trimmed skirt, or a Valentino feather-trimmed robe with jeans.
John Galliano is a master of dressing romantic heroines in ravishing or just-about-to-be-ravished style: bias cut, lace capelets, embellished chiffon and swooshing petticoat skirts are all part of his lexicon. It will be fascinating to see what he conjures up in a new two-year consultancy deal reconfiguring Zara’s archives; the first collection arrives in stores in September.
Meanwhile, there is a host of independent designers to sate desires, one of whom is Carlotta Danti, founder of rosamosario.com – a boudoir specialist who uses couture techniques (hand-rolled hems, tiny covered buttons) in her confections, which Rihanna has custom-made. Or consider Yuhan Wang, the London-based Chinese designer, who starts with a classical notion of femininity and plays with the ideals. There’s a rebellious streak in her tiered handkerchief skirts and draped ribbon-tied tops.
Boudoir is far from submissive; indeed, there’s something intrinsically powerful in all the delicacy – and in those peachy, lemon, lilac hues.
