SECOND SKIN - Daab

SECOND SKIN

SECOND SKIN
The Erotic Art of Lingerie
— Edited by Patrice Farameh

INTRODUCTION
FOREWORD
ANDRES SARDÁ
ANGÉLIQUE DEVIL
BLUSH
CAPRICINE
DAMARIS
ETERNAL SPIRITS
FRED&GINGER
FRENCH CANCAN
GONZALEZ
GUIA LA BRUNA
HMS LATEX
HOPELESS
I.D. SARRIERI
JEAN YU
KEIKO
CONTENT
6
8
10
32
42
54
64
80
90
102
114
124
134
146
156
164
174
KIKI DE MONTPARNASSE
LA PERLA
LASCIVIOUS
LE BOUDOIR DE MARIE
MALU MONTEIRO
MAYA HANSEN
MORGANA FEMME COUTURE
N DE SAMIM
NICHOLE DE CARLE
PLEASURE STATE
STRUMPET & PINK
THE LAKE & STARS
UNDREST
VALISERE
VELDA LAUDER
PHOTO CREDITS
IMPRINT
184
202
226
244
252
264
278
294
304
314
328
340
350
360
372
382
384
5

“Creating Desire from Within”
AN EROTIC EXPLORATION
this book started as an exploration into what elements actually make a piece of fragile fabric such an
erotic item in the rst place. Where does that alluring power come from, and how does a designer work
that magic into each gorgeous esh-wrapping piece of art? After looking at the work of hundreds of
lingerie designers and picking the brains of those behind the brands, you would think the answer could be
easily attained. But actually it is nearly an impossible endeavor. I’ve learned that lingerie is only as erotic
on the outside as the woman feels on the inside. And the designers in the following pages — those I consider
the best lingerie artists in the world — are incredibly skilled at creating that sense of desire from within.
e journey began with a relaxed conversation with a true lingerie acionado: Lisa Z. Morgan, a conceptual
artist and philosopher of the sensuous, who also happens to be the co-founder of the incredibly luxurious Strumpet
& Pink line of lingerie and the deliciously fragrant Pink-ness No.6 perfume. Lisa applies the philosophy and
psychology of desire and eroticism to her overall approach to design, whether it be for an installation piece or one of
her exotic knickers. Here we start to slowly reveal the secrets behind the erotic power of lingerie.
— What is it about lingerie that makes it erotic? — It is all about what is concealed and what is revealed. Wherever there
is room for the imagination to journey has the potential to become erotic. You could feel sexy in a sack depending
upon how you feel inside. Condence or self-knowledge is personal and beyond the fabric that lies on the skin. But
a burlap sack can rarely make a woman feel sexy on its own, can it? —You can’t really make a sweeping generalization
about what will bring out the condence or sexuality in a woman. is is awakened in some people when they’re
dressed from head-to-toe in rubber, that’s what works for them—the restraint. ere are so many variables and
nuances that it’s impossible to be prescriptive. So it’s one thing to make a woman feel good. How does lingerie make a
woman feel erotic? — One aspect could be dressing up as escapism, which can be a thrilling and liberating addition or
diversion from the routine. at kind of play is pleasurable and can lead to eroticism. For the woman who wears it, or
the man who peels it o? — What a woman thinks she needs to make her feel desirable is often very dierent from
what a man actually desires. Many men simply want their woman naked. It is all about seeing and feeling the esh.
We have dierent perspectives. Women always want to be slimmer and struggle to attain the ‘airbrushed’ visual
sexuality that is portrayed and sold by the mainstream media and what most men actually want is more esh on their
women. Men prefer the “real” woman. So in creating great lingerie, which woman do you have to design for: the woman
they want to be or for the “real” woman they truly are? — It is one thing to look beautiful, and it is a very dierent thing
to feel beautiful. We know all those phases of deep vulnerability. We understand the anxieties women experience with
their bodies and explore these preoccupations in our design aesthetic. We also know how contradictory women are
by nature and layer these paradoxes into our designs. Some women tell me that they only own and wear sexy lingerie. But
aren’t there times that we all secretly love to wear the baggy pajama? — I do challenge any woman who says she only has
gorgeous lace knickers in her drawer. I think there will always be a pair of knickers you’ve had for years that for some
reason seem really comfortable; they t in all the ways you like and you love the familiar feel of them. We tried to
incorporate that feeling of ease, playing with the comfy and ‘sensible’ idea when we rst created the big knickers, only
we made them exquisitely beautiful. So you have the best of both worlds. But you mentioned that sometimes wearing
6
lingerie is a kind of escape from reality? — Yes but the worst thing in the world is when a woman buys a piece of lingerie
because she feels she should. at is the danger for pushing the sex factor in lingerie. It becomes about the pressure
to be ready for sex at any moment. How often do you wear lingerie yourself? — I am more of a collector. I appreciate
lingerie as one appreciates art. It also marks a stage in one’s personal history. I have a pair of Mary Quant knickers
that I bought in my late teens. I certainly don’t wear them but I love the buttery print and when I see these knickers
there’s a sort of provenance about them. What are some of the reasons—good or bad—that any woman would buy
lingerie? — Some buy it to please the man, depending on the situation that can be both good and bad. Some buy it
because it makes them feel good, in which case it has a ‘roll-on’ eect. If a woman feels good then everything
improves. I think some women buy lingerie because they think they should and this is the worst reason to buy
anything ever. I received an email today from a guy wanting to place an order. A week was booked in a hotel with his
loved one and he wrote ‘Of course a fabulously fancy pair of knickers will be required.’ Obviously for this couple
dressing up is an important part of their sex-life which is wonderful. Does lingerie help one’s sex life? — ere are many
ways to keep your relationship alive but if you really love someone, desire them, it doesn’t matter if you’ve got your
knickers on or not. Aside from your own line, what do you nd the sexiest lingerie of all? — Victorian bloomers because
they have this amazing cross over slit opening from the waist all the way around to the back. When the women wore
those very long skirts they couldn’t lift all their skirts and petticoats to go to the loo. e incredible thing is that the
design was purely practical, the woman just had to open her legs to go to the toilet. But it’s phenomenally sexual
because you’re entirely covered but with an open route to get inside. To be concealed and yet exposed is very erotic.
But what about those pieces of lingerie that are so uncomfortable and impractical for the sake of creating sensuality? — I
think there are dierent levels of discomfort. Bondage and restraint are sexual because the level of discomfort is
pushed. Equally if something is completely impractical then you head into a whole other area and the objective
becomes about creating an object, a wearable art piece that has nothing to do with practicality. It seems that the ones
that really do well in lingerie design are the ones that look at it as an art form, a playful one at that? — We certainly think
of lingerie as wearable art. It is not practical on any level – the only critical element is that it feels wonderful to wear
no matter how many corners you apply to an idea or design. We created “Ming’s Vase,” a pair of knickers entirely
lined with peony owers. Focusing on the outside visuals is part of the two-dimensional world. To go beyond that is
to create a more resonant intimate feeling for the woman. In this case as if she is being held by hundreds of pure silk
peony petals complete with golden stamens. Even the one who is undressing her, and she will require help because
there are many tiny buttons, is not going to know how it feels to be in that pair of knickers with all those owers. So
what would be your rst piece of advice for aspiring lingerie designers based on that philosophy? — Never design for a
particular ‘market.’ Create the pieces that you see or feel in your mind. Lingerie…luxury or necessity? — Luxury.
Something akin to a treasure to be kept forever. To keep in your drawer and at 85 in your rocking chair you can
ruminate about ‘ourishing’ times. Or at 85 years old you could be still wearing them while sitting in your rocking chair!
Besides lingerie, what other items enhance a woman’s life? — Very dark chocolate and most denitely red lipstick. I even
wear it at home on my own. Even in comfy sensible knickers? — And my hessian sack. Absolutely!
7

“Inner Armor for Outer Empowerment”
FOREWORD
In the past years, the Seven Bar Foundation has had the great fortune of working with some of the most brilliant
couture and luxury lingerie designers, who have clothed (even for just a moment) the most beautiful role models,
politicians, executives, et al. ese designers work season after season with an understood goal: to highlight the
beauty in all of us, outline the curves that make us unique, and shine our armor in a testament to the goddess within
that is the epitome of erceness. e Seven Bar Foundation takes this knowledge and brings it to life in trademarked
top couture and luxury lingerie shows. With Lingerie New York, Miami, Paris, London and the top 15 markets, the
Foundation reaches a critical mass of consciousness with the ladder icon on the runway representing extending
ladders to women out of poverty and into business via micronance. Today’s woman has evolved into an allencompassing
mother, business leader, sex symbol and most importantly as an agent of change to write a history in
which women ride o each other’s wind as opposed to ying solo. ere is always that one person who has given you
that one break. e Seven Bar Foundation gives women their rst break by providing them small loans to come out
of poverty to start their own businesses. For us it is Joe Corre, founder of Agent Provocateur, who gave us our rst
break and we can never forget when he said, “A woman who wears lingerie is in control, and she decides who gets to
see it.” We believe that what you are about to experience in this book lays the vision which we see— as magnicent
as lingerie is to share amongst us, the ultimate power is to redirect this energy to empower the women around the
world.
Renata Mutis Black and Kim Hoedeman
Seven Bar Foundation Founders
8
All images courtesy of the Seven Bar Foundation
For more information please visit www.sevenbarfoundation.org
9

BLUSH

44
there’s no need to be shy when talking about
Blush’s gorgeous unmentionables, whose delicacy
and romance belie major strength and comfort.
ese durable and witty intimates carry a certain
minx-like je ne sais quoi about them, which makes
perfect sense considering they are made in Montreal, a city
whose history is steeped in the luxurious fur trade and the
charming traditions of Old World France. Blush has given
women the choice of three versatile lines to play with:
Simple Pleasures, Wicked, and Love Game. Working with
durable lace, experimenting with rich colors and using
interesting prints, the Montreal-based team makes the
rened European silhouettes pop, so that a young woman,
her mother, and her grandmother could all nd something
that suits them and still feel sexy.
Biography — Blush is a company with 50 years of
fashion expertise laying its quality foundation. In 1959,
Edward N. Ajmo launched a textile business in the fashion
hub of Montreal, and soon after opened up a venture in Miami
that employed over 1000 people. After successfully selling his
US outpost, Ajmo moved back to his home of Montreal, a city
steeped in rich French tradition and fur trading. His love and
knowledge of fabric lead him to focus on a product where even
the littlest piece of material is of the utmost importance. So he
opened Blush in 1988, which would turn into a leading
Canadian lingerie company. His two children, Justin and
Tiany, have been at the helm since 2001. Blush has the
backbone of family tradition, the fashion-forwardness of the
cosmopolitan Montreal fashion scene, and tasteful marketing
to lead it into the 21 st century.
Simple Pleasures by BLUSH
45

46
Fatal Attraction by BLUSH
Anthony Trollope
She knew
how to
ALLURE
by denying and to make
the gift rich by
DELAYING IT.
47

48 Guilty Pleasures by BLUSH
Kahlil Gibran
LOVE is a magic ray
emitted from the burning core
of the SOUL and illuminating
the surrounding earth.
It enables us to perceive life
as a beautiful dream
between one AWAKENING
and another.
49

Françoise Sagan
ADRESS
makes no sense
unless it inspires
men to want to take it off of you.
50 Sexy Kitty by BLUSH
51

Oscar Wilde
I but
can resist everything
TEMPTATION.
52 Promise Me by BLUSH
53

CAPRICINE

capricine takes its name from Marie-
Antoinette, the notoriously frivolous and
fun-loving teen Queen of eighteenth century
France. While she may not have been the
most diplomatically intelligent woman, she
certainly made great style choices, and that is why Capricine
has chosen her as its muse. e line embraces her youth,
beauty and lightness to create a collection that reveals the
allure of naiveté. Sublimely transforming luxurious
materials like French lace and silk ribbons into wearable
confections resembling delicious pastel petits-fours,
Capricine beckons us away from the dark lace characteristic
of most lingerie into a sunny Petit Trianon proving once
and for all that sweet is sexy.
Biography — Capricine is a Japanese company whose
pretty undies are inspired and designed by the former Miss
Kimono of Kyoto, Chikage Morita, a talented collage artist,
and Rinko Takako, an events producer and nightlife DJ.
While modeling, these two girls-about-town decided to launch
a lingerie brand dedicated to t-focused, well-made intimates,
using their PR abilities to throw fun, lavish fashion shows and
propel their brand to success. Capricine has a sister company
called “Gatez-Moi” that specializes in a dierent style of
lingerie for when it’s clients would like to explore a dierent,
darker side of intimacy.
56 Sweet Tooth by CAPRICINE
57

Tallulah Bankhead
It’s the GOOD GIRLS who keep the
DIARIES.
The BAD GIRLS never
have the time.
58 Fickle by CAPRICINE
59

60
Elissa Melamed
In MIRRORS
MEN look at themselves…
WOMEN look
for themselves…
Sweet Tooth by CAPRICINE
Next page: In Love by CAPRICINE
61

62
63

LA PERLA

204
la Perla always strived to be in the forefront of
fashion. Like most highly fashionable styles,
controversy lends itself to new fashion trends.
Dynamic, body condent women started to wear
undergarments as outerwear while still holding on
to a glamorous and sophisticated look. True to
form, La Perla recognized the movement and began
designing with this exposure in mind. e delicate,
meticulous, and expensive Italian lingerie pieces are still
considered collector’s items and very much another
fashionable outlet for personal expression. e velvet-lined
boxes might be gone today, but the utterly priceless feeling
of possessing one of their pieces still remains.
Biography — ere is no doubt La Perla is Italy’s gem in
the history of lingerie, if not the world. And of course, it all
started with a strong-minded Italian woman. Skilled in the
art of corsetry, Ada Masotti began doing alterations on the
underclothes of the well-to-do women in her building where
she served as a concierge. Shortly after, and with a highly elite
Bolognese client base, Masotti opened her rst boutique in
1954 with the idea of making lingerie women would collect as
an exclusive object of desire delicately wrapped like a ne piece
of pearl jewelry in a red velvet-lined box, hence the name La
Perla.
Leavers Lace Bustier, Limited Edition, Fall/Winter 1996 by LA PERLA
205

Oliver Wendell Holmes
Beauty is the
PROMISE
of the
FUTURE.
206 Filigrane Bra, Limited Edition, Fall/Winter 2008 by LA PERLA
207

208
Muhammad al-Nafzawi
“e Perfumed Garden of Sensual Delight”
The Master of the Universe
has bestowed upon them the
EMPIRE of SEDUCTION.
all men, weak or strong,
are subjected to a weakness for
the love of a woman.
Lace Bandeau Bra, Black Label, Fall/Winter 2008 by LA PERLA
Next page: Black Label, Spring/Summer 2004 by LA PERLA
209

210
John Heywood
A woman
hath
cat.
like a
NINE LIVES
211

212 Embroidered Tulle Set, Fall/Winter 2004 by LA PERLA
D. H. Lawrence
SEX
BEAUTY
and
are INSEPERABLE
like life and conciousness
And the intelligence which goes
with sex and beauty isINTUITION.
213

Heather Locklear
YOU CAN’T
KEEP CHANGING MEN,
SO you SETTLE for
changing your lipstick.
214 Dust Pink Bra and Suspender, Fall/Winter 2001 by LA PERLA
215

I,
am that wonder-breathing
rose
Elsa Barker
“e Mystic Rose”
woman,
that blossoms
in the GARDEN of the KING.
216 Embroidered Tulle Set, Black Label, Fall/Winter 2003 by LA PERLA
217

THE
f
Gelett Burgess
“e Maxims of Methuselah”
EAR
of women is
the beginning
of knowledge.
218 Golden Metal Cage Bustier, Black Label, Spring/Summer 2009 by LA PERLA
219

Louisa May Alcott
“Little Women”
Let us be
elegant…
or
die!
220 Tulle and Satin Set, Black Label, Fall/Winter 2009 by LA PERLA
221

222
Know first,
Epictetus
WHO YOU ARE
AND THEN adorn yourself
accordingly.
Golden Metal Dragon Bra, Black Label, Spring/Summer 2008 by LA PERLA
Next page: Silk Tulle “Panier,” Black Label, Fall/Winter 2004 by LA PERLA
223

224
225

PHOTOS
All images are used by courtesy of the respective lingerie designers featured in this book
including the special instances listed below:
All feature opener photography: Stefan Vorbeck
Andres Sardá: Sergi Pons (p. 13; p. 20; p. 26),
José Manuel Ferrater (pp. 14-15; p. 14; p. 23; p. 25; pp. 30-31), Ugo Camera (p. 18; p. 28)
Angélique DeVil: Francesco Santori (pp. 32-41)
Blush: Max Abadian (pp. 42-50)
Capricine: Aki Saito (pp. 54-60)
Damaris: Adrian Wilson (p. 63; p. 67; p. 70; p. 73), Aitken Jolly (p. 66; p. 72; pp. 75-76)
Eternal Spirits: Marcus Holdsworth (p. 80; p. 81; p. 84; pp. 85-86), Styling by Stylisa (p. 80)
Styling by Susi Henson, Hair: James White, Makeup: Ali Gunn, Jewelry: Stuart exton,
Model: Georgia Horsley (p. 81; p. 84; pp. 85-86)
Fred&Ginger: Marc Rogo (pp. 89-99)
French Cancan: Chiaramonte Giuseppe (pp. 102-109)
Gonzalez: Gran Canaria Moda Calida (p. 117), Jesús Corminas, Model: Dora (p. 121)
Isami Aoki, Model: Lily (p. 118; p. 123)
Guia La Bruna: Romain Lienhardt (pp. 127-133)
HMS Latex: Monica Carommo also known as Phantom Orchid, Model: Marine (p. 137)
Aesthetic Alchemy, Model: Elissa (p. 138)
Viva Van Story, Model: Mosh (p. 140)
Mathie Richardoz, Model: Sister Sinister (p. 143; p. 145)
Hopeless: Jo Duck (pp. 148-155)
I.D. Sarrieri: All photos courtesy of Iulia Dobrin
Jean Yu: Photos courtesy of Jean Yu, Model: Jamie Coon (p. 166; pp. 168-169; p. 172)
Keiko: Kevin Hatt (pp. 177-183)
Kiki de Montparnasse: Jenny Gage and Tom Betterton (pp. 187-201) (brydgesmackinney.com)
La Perla: Alastair Taylor Young (p. 204)
Nadir, Model: Masha Novoselova (pp. 206-207), Model: Amy Kingston (p. 209), Model: Maja Latinovic
(pp. 210-211; pp. 216-217; pp. 224-225), Model: Elizabet Davidsdottir (p. 215),
Model: Zuzana Gregorova (p. 218), Model: Olga Serova (p. 221), Model: Edita Vilkeviciute (p. 223)
Michelangelo Di Battista, Model: Rianne Ten Haken (p. 212)
Lascivious: Viktonja Skyte (p. 229), Rankin (p. 230; p. 235; p. 239; pp. 242-243),
Ben Morris (p. 233), Vast (pp. 236-237), Ben Riggot (p. 240)
Le Boudoir de Marie: Nicolas Receveur (p. 247; p. 248), Julie Pradier (p. 250)
Malu Monteiro: Luis Gustavo Dias (pp. 255-263)
Maya Hansen: Marcelo Aquilo (www.aquilo.net) (pp. 267-277)
Morgana Femme Couture: Greg Daniels, Model: Roxanne Dale (p. 281)
Iberian Black Arts, Model: Patricia Martinez (p. 282; p. 288), Model: Johanna Brennan (p. 285)
John Barone, Model: Monika Trzpil (p. 287)
Maxime Avet, Model: Amelie Eklof (p. 291; pp. 292-293)
N de Samim: Lizzie Patterson (pp. 296-303)
Nichole de Carle: Richard Stow, Model: Maria Sokolovski (p. 307; pp. 312-313)
James Stroud, Model: Tabitha Hall (p. 309; p. 311)
Pleasure State: Steven Lyon, Model Amber Arbucci (p. 317; p. 319)
Steven Lyon (p. 320; p. 322; p. 325)
Anna Dabrowska, Model: Alina Baikova (pp. 326-327)
Strumpet & Pink: Raphael Just (p. 330), Daniel Marston (p. 333; p. 334; pp. 338-339),
Andy Law (p. 337)
e Lake & Stars: Matt Sundin (p. 342), Tom Hines (p. 345; p. 346; p. 349)
Undrest: Maria Paz Navales (p. 353; p. 354; p. 356; pp. 358-359)
Valisere: Timothy Barnes, c/o Stiegemeyer Photographers,
Model: Aymeline Valade (p. 363; p. 364; p. 367; p. 368; p. 371)
Velda Lauder: Bobette, Model: Maz (p. 375)
Regis Hertrich, Model: Bex (p. 376)
Maria ompson, Model: Bex (p. 379)
Regis Hertrich, Model: Maz (pp. 380-381)
382 383

THE POWER WITHIN
Book Idea
Editor
Editorial Coordination
Copy Editor
Copywriter
Layout
Introduction with
Foreword with
Cover Design
Corporate Design
Published and distributed worldwide by
Produced with Love by
Printed with Care by
ISBN
Ralf Daab
Patrice Farameh
Ariane Preusch
Christiane Blass
Nicky Stringfellow
Andrea Diaz
Lisa Z. Morgan
Renata Mutis Black and Kim Hoedeman
Seven Bar Foundation Founders
www.sevenbarfoundation.org
Meiré und Meiré
Meiré und Meiré
Cologne, Germany
DAAB MEDIA GMBH
Scheidtweilerstrasse 69
50933 Cologne/Germany
Tel. + 49 221 690 48 210
Fax + 49 221 690 48 229
www.daab-media.com
www.faramehmedia.com
New York City
Grache Flaminia
Italy
978-3-942897-14-2
© 2011 DAAB MEDIA GMBH
All rights reserved. No part of this publication may be reproduced or transmitted in any
form or by any means, electronic or mechanical, including photocopy, recording or any
information storage and retrieval system, without permission in writing from the copyright
owner(s).