Petite Bikini Ass
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Petite Bikini Ass
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Connecting people through photography.
Home from church on Sunday. This top is lined lace. The skirt is tight to the body but the panels flow outward. I'm holding it out so you can see it.
These shoes are plastic with pink linen heels, mules, slides.
My hose are not nude, they are black, very black, but the light shoots right through.
My scarf was purchased at another time and lucky, it matches.
I shot more, so as my friend Rebecca says..."Stay tuned...and bye bye for now".
I am not a cd, tv, crossdresser, but many of my friends are.
Here I am in one of the Usa's most wonderful grand parks. Our family was there for a vacation, combination seminar. Our kids and our parents. The is just me in the grass.
I love this picture. I am wearing dark glasses...those are not black eyes.
I'm gasp.....wearing tennies shoes...Well you can't wear high heels in the grass lands.
I want to tell you about my outfit.
I made my feminine clothes. This is regular shorts...but the top is a corset design of cotton eyelet. I made it and i have no bra. There are ruffles on the hips and the top...and then there is a matching skirt. At this seminar, it was about, femininity...all the women dressed up as much as possible...and the teacher said ...I was the best in this outfit.
Every day was a fashion show....but...I had great shoes...and he said you all look great
but Mrs X...wins because of her shoes. The shoes were all vinyl and at that time, they were not common. And they cost a fortune.
So this is two piece outfit and....
one day i wore it to the grocery store to get some food, and a little boy was in line and he said out loud... ARE YOU WEARING YOUR UNDERWEAR??
HIS MOTHER SHUSHED HIM....AND I JUST SMILED AND SAID...OH THAT'S OK.
That is the point of ultra feminine clothes, they do look like underwear...
My top looked like a corset and my skirt was ruffled and looked like a petticoat. It was one of my most beautiful creations....
so i was pleased..and even little MEN...KNOW ITS SEXY...OR SOMETHING?
IN MY SET... Married Mistress Model fantasy...i wore this outfit ...dressed as Melissa,
so here you can see the whole thing...so sorry. I didn't keep all my clothes I made.
I am not cd, tv or crossdresser but many of my friend are,
TRYING TO FILL MY HUSBANDS BRAIN WITH MANY WOMEN...ALL ME
Fits for : Legacy/Perky - Freya - Hourglass - Maitreya Lara - Isis - Reborn
SHOES : " Dasia Boots " by : *KC|Couture*
═.♡.♥.♡.══ BELLA ROSE ═════════════════════════
══════════════════════════Bella Rose══.♡.♥.♡.═
═.♡.♥.♡.══ KC|COUTURE ══════════════════════════
═════════════════════════KC|COUTURE══.♡.♥.♡.══
- - - - - - - - - - - - - - - - - - - - - - - CREDITS - - - - - - - - - - - - - - - - - - - - - - - -
MESH BODY : "Lara" by MAITREYA (LM)
MESH HEAD : "LEL EvoX Avalon" by LeLUTKA (LM)
NAILS : "Luxe Nails Manon" by YSORAL (MP)
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Staging, Pose and Picture by : PB Picture Studios
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I got up out of the chair and put knee down and tucked my slip.
Still wanting to show you my legs and killer shoes. The shoes have ankle straps like bondage.
My hat is down cause I'm hiding from girl friend.
Hot sunshine day in my backyard. After church.
I am not a tv, cd, or crossdresser but many of my friends are,
Squirtman with friends, fans, POD, Theory of A Deadman, etc... good times. :-)
Squirtman with friends, fans, POD, Theory of A Deadman, etc... good times. :-)
Squirtman with friends, fans, POD, Theory of A Deadman, etc... good times. :-)
(click to enlarge for more details)
Riged for Maitreya Lara/Petite - Belleza Freya - Legacy/Perky - Slink Hourglass/Isis - Inithium Kupra
═.♡.♥.♡.══ LE'LA Designs ═════════════════════════
═════════════════════════LE'LA Designs══.♡.♥.♡.═
- - - - - - - - - - - - - - - - - - - - - - - CREDITS - - - - - - - - - - - - - - - - - - - - - - - -
MESH BODY : "Freya" by BELLEZA (LM)
SKIN : "Maggy Cotton Candy " by 7 DEADLY S[K]INS (MP)
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Stagging, Pose and Picture by : PB Picture Studios
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(click to enlarge for more details)
DRESS : " GRAZIA " by : RED'S LITTLE SECRETS
RLS Grazia from Red´s little secrets is a very sexy shiny with passion designed Dress.
The Fatpack comes with a HUD you can customize about 10 different colors.
Exclusive @ WIP EVENT From May 02 to 22th
═.♡.♥.♡.══ RED'S LITTLE SECRETS ══════════════════
═════════════════════Red's Little Secrets══.♡.♥.♡.═
- - - - - - - - - - - - - - - - - - - - - - - CREDITS - - - - - - - - - - - - - - - - - - - - - - - -
MESH BODY : "Lara" by MAITREYA (LM)
MESH HEAD : "HD Pro Queen" by CATWA (MP)
SKIN : "Victoria - Cocoa" by LURE (MP)
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Stagging, Pose and Picture by : PB Picture Studios
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BOSNIAN MERMAID - ALEKSANDRA at CONEY ISLAND BEACH, NYC
You can see the entire session here:
Time magazine list of top 10 bikinis in popular culture
-Micheline Bernardini models the first-Ever Bikini (1946)
-"Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" (1960)
-Annette Funicello and Beach Party (1960's)
-The belted Bond-girl bikini (1962)
-Sports Illustrated's first Swimsuit Issue (1964)
-Raquel Welch's fur bikini in One Million Years B.C. (1966)
-Phoebe Cates' Bikini in Fast Times at Ridgemont High
-Princess Leia's golden bikini in Return of the Jedi (1983)
-Official uniform of the female Olympic Beach Volleyball team (1996)
-Miss America pageant's bikini debut (1997)
The history of the bikini can be traced back to antiquity. Illustrations of Roman women wearing bikini-like garments during competitive athletic events have been found in several locations. The most famous of them is Villa Romana del Casale. French engineer Louis Réard introduced the modern bikini, modeled by Micheline Bernardini, on July 5, 1946, borrowing the name for his design from the Bikini Atoll, where post-war testing on the atomic bomb was happening.
French women welcomed the design, but the Catholic Church, some media, and a majority of the public initially thought the design was risque or even scandalous. Contestants in the first Miss World beauty pageant wore them in 1951, but the bikini was then banned from the competition. Actress Bridget Bardot drew attention when she was photographed wearing a bikini on the beach during the Cannes Film Festival in 1953. Other actresses, including Rita Hayworth and Ava Gardner, also gathered press attention when they wore bikinis. During the early 1960's, the design appeared on the cover of Playboy and Sports Illustrated, giving it additional legitimacy. Ursula Andress made a huge impact when she emerged from the surf wearing what is now an iconic bikini in the James Bond movie Dr. No (1962). The deer skin bikini Raquel Welch wore in the film One Million Years B.C. (1966) turned her into an international sex symbol and was described as a definitive look of the 1960's.
The bikini gradually grew to gain wide acceptance in Western society. According to French fashion historian Olivier Saillard, the bikini is perhaps the most popular type of female beachwear around the globe because of "the power of women, and not the power of fashion". As he explains, "The emancipation of swimwear has always been linked to the emancipation of women." By the early 2000's, bikinis had become a US $ 811 million business annually, and boosted spin-off services like bikini waxing and the sun tanning.
In the Chalcolithic era around 5600 BC, the mother-goddess of Çatalhöyük, a large ancient settlement in southern Anatolia, was depicted astride two leopards wearing a costume somewhat like a bikini. Two-piece garments worn by women for athletic purposes are depicted on Greek urns and paintings dating back to 1400 BC. Active women of ancient Greece wore a breastband called a mastodeton or an apodesmos, which continued to be used as an undergarment in the Middle Ages. While men in ancient Greece abandoned the perizoma, partly high-cut briefs and partly loincloth, women performers and acrobats continued to wear it.
Artwork dating back to the Diocletian period (286-305 AD) in Villa Romana del Casale, Sicily, excavated by Gino Vinicio Gentile in 1950-60, depicts women in garments resembling bikinis in mosaics on the floor. The images of ten women, dubbed the "Bikini Girls", exercising in clothing that would pass as bikinis today, are the most replicated mosaic among the 37 million colored tiles at the site. In the artwork "Coronation of the Winner" done in floor mosaic in the Chamber of the Ten Maidens (Sala delle Dieci Ragazze in Italian) the bikini girls are depicted weight-lifting, discus throwing, and running. Some activities depicted have been described as dancing, as their bodies resemble dancers rather than athletes. Coronation in the title of the mosaic comes from a woman in a toga with a crown in her hand and one of the maidens holding a palm frond. Some academics maintain that the nearby image of Eros, the primordial god of lust, love, and intercourse, was added later, demonstrating the owner's predilections and strengthening the association of the bikini with the erotic. Similar mosaics have been discovered in Tellaro in northern Italy and Patti, another part of Sicily. Prostitution, skimpy clothes and athletic bodies were related in ancient Rome, as images were found of female sex workers exercising with dumbbells/clappers and other equipment wearing costumes similar to the Bikini Girls.
Charles Seltman, a fellow of Queens' College, Cambridge, curator of the Archaeology Museum there and an editor of The Cambridge Ancient History, illustrated a chapter titled "The new woman" in his book Women in Antiquity with a 1950's model wearing an identical bikini against the 4th-century mosaics from Piazza Armerina as part of a sisterhood between the bikini-clad female athletes of ancient Greco-Romans and modern woman. A photograph of the mosaic was used by Sarah Pomeroy, Professor of Classics at Hunter College and the Graduate Center, City University of New York, in the 1994 British edition of her book Goddesses, Whores, Wives, and Slaves to emphasize a similar identification. According to archaeologist George M.A. Hanfmann the bikini girls made the learned observers realize "how modern the ancients were".
In ancient Rome, the bikini-style bottom, a wrapped loincloth of cloth or leather, was called a subligar or subligaculum ("little binding underneath"), while a band of cloth or leather to support the breasts was called strophium or mamillare. The exercising bikini girls from Piazza Armenia wear subligaria, scanty briefs made as a dainty version of a man's perizoma, and a strophium band about the breasts, often referred to in literature as just fascia, which can mean any kind of bandage. Observation of artifacts and experiments shows bands had to be wrapped several times around the breasts, largely to flatten them in a style popular with flappers in the 1920's. These Greco-Roman breastbands may have flattened big breasts and padded small breasts to look bigger. Evidence suggests regular use. The "bikini girls" from Piazza Armenia, some of whom sport the braless look of the late 20th century, do not depict any propensity of such popularity in style. One bottom, made of leather, from Roman Britain was displayed at the Museum of London in 1998. There has been no evidence that these bikinis were for swimming or sun-bathing.
Finds especially in Pompeii show the so-called Roman goddess Venus wearing a bikini. A statue of the so-called Venus in a bikini was found in a cupboard in the southwest corner in Casa della Venere, others were found in the front hall. A statue of the so-called Venus was recovered from the tablinum of the house of Julia Felix, and another from an atrium in the garden at Via Dell'Abbondanza. Naples National Archaeological Museum, which opened its limited viewing gallery of more explicit exhibits in 2000, also exhibits a "Venus in Bikini". However, the Naples National Archaeological Museum is keen to stress that this statue actually depicts her Greek counterpart Aphrodite as she is about to untie her sandal, a common theme among other works depicting Aphrodite. The museum's exhibits include female statues wearing see-through gold lamé brassiere, basque and knickers. The Kings of Naples discovered these Pompeii artifacts, including the one meter tall, almost unclothed statue of Venus painted in gold leaf with something like a modern bikini. They found them so shocking that for long periods the secret chamber was opened only to "mature persons of secure morals". Even after the doors were opened, only 20 visitors were to be admitted at a time, and children under 12 were not allowed into the new part of the museum without their parents' or a teacher's permission.
There are references to bikinis in ancient literature as well. Ovid, the writer ranked alongside Virgil and Horace as one of the three canonical poets of Latin literature, suggests the breastband or long strip of cloth wrapped around the breasts and tucked in the ends, is a good place to hide love-letters. Martial, a Latin poet from Hispania who published between AD 86 and 103, satirized a female athlete he named Philaenis, who played ball in a bikini-like garb quite bluntly, making her drink, gorge and vomit in abundance and hinting at her lesbianism. In an epigram on Chione, Martial strangely mentions a sex worker who went to the bathhouse in a bikini, while it was more natural to go unclothed. Reportedly Theodora, the 6th century empress of the Byzantine Empire wore a bikini when she appeared as an actress before she captured the heart of emperor Justinian I.
There is evidence of ancient Roman women playing expulsim ludere, an early version of handball, wearing a costume that has been identified as bikinis.
Between the classical bikinis and the modern bikini there has been a long interval. Swimming or outdoor bathing were discouraged in the Christian West and there was little need for a bathing or swimming costume till the 18th century. The bathing gown in the 18th century was a loose ankle-length full-sleeve chemise-type gown made of wool or flannel, so that modesty or decency was not threatened. In the first half of 19th century the top became knee-length while an ankle-length drawer was added as a bottom. By the second half of 19th century, in France, the sleeves started to vanish, the bottom became shorter to reach only the knees and the top became hip-length and both became more form fitting. In the 1900's women wore wool dresses on the beach that were made of up to 9 yards (8.2 m) of fabric. That standard of swimwear evolved into the modern bikini in the first of half of the 20th century.
In 1907, Australian swimmer and performer Annette Kellerman was arrested on a Boston beach for wearing a form-fitting sleeveless one-piece knitted swimming tights that covered her from neck to toe, a costume she adopted from England, although it became accepted swimsuit attire for women in parts of Europe by 1910. Even in 1943, pictures of the Kellerman swimsuit were produced as evidence of indecency in Esquire v. Walker, Postmaster General. But, Harper's Bazaar wrote in June 1920 (vol. 55, no. 6, p. 138) - "Annette Kellerman Bathing Attire is distinguished by an incomparable, daring beauty of fit that always remains refined." The following year, in June 1921 (vol. 54, no. 2504, p. 101) it wrote that these bathing suits were "famous ... for their perfect fit and exquisite, plastic beauty of line."
Female swimming was introduced at the 1912 Summer Olympics. In 1913, inspired by that 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 Girl,. The first annual bathing-suit day at New York's Madison Square Garden in 1916 was a landmark. The swimsuit apron, a design for early swimwear, disappeared by 1918, leaving a tunic covering the shorts.
During the 1920's and 1930's, people began to shift from "taking in the water" to "taking in the sun," at bathhouses and spas, and swimsuit designs shifted from functional considerations to incorporate more decorative features. Rayon was used in the 1920's in the manufacture of tight-fitting swimsuits, but its durability, especially when wet, proved problematic, with jersey and silk also sometimes being used. Burlesque and vaudeville performers wore two-piece outfits in the 1920's. The 1929 film "Man with a Movie Camera" shows Russian women wearing early two-piece swimsuits which expose their midriff, and a few who are topless. Films of holidaymakers in Germany in the 1930's show women wearing two-piece suits,
By the 1930's, necklines plunged at the back, sleeves disappeared and sides were cut away and tightened. With the development of new clothing materials, particularly latex and nylon, through the 1930's swimsuits gradually began hugging the body, with shoulder straps that could be lowered for tanning. Women's swimwear of the 1930's and 1940's incorporated increasing degrees of midriff exposure. Coco Chanel made suntans fashionable, and in 1932 French designer Madeleine Vionnet offered an exposed midriff in an evening gown. They were seen a year later in Gold Diggers of 1933. The Busby Berkeley film Footlight Parade of 1932 showcases aqua-choreography that featured bikinis. Dorothy Lamour's The Hurricane (1937) also showed two-piece bathing suits.
The 1934 film, Fashions of 1934 featured chorus girls wearing two-piece outfits which look identical to modern bikinis. In 1934, a National Recreation Association study on the use of leisure time found that swimming, encouraged by the freedom of 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 pajamas, usually with a blouse top, became popular by 1939. Wartime production during World War II required vast amounts of cotton, silk, nylon, wool, leather, and rubber. In 1942 the United States War Production Board issued Regulation L-85, cutting the use of natural fibers in clothing and mandating a 10% reduction in the amount of fabric in women's beachwear. To comply with the regulations, swimsuit manufacturers produced two-piece suits with bar
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