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Famous BrandsBerlei |
So far as corsetry is concerned, Berlei is THE Australian success story. Fred Burley was born in Hamilton, Victoria, on the 29th of May 1885. He was educated in Ballarat, and in 1900 he joined the firm of Brooks McGlashan and McHarg in their Ballarat warehouse. By 1910 he had been promoted to manager of their Sydney office. Then, with his brother Arthur Burley, and other relatives he formed “Unique Corsets Ltd”. This grew rapidly, and in 1919 the name was changed to Berlei Ltd. [It is said that this name was chosen as a "French" version of the family name. The original form was not acceptable in refined circles, as in Australia burley is a slang term meaning to attract fish by scattering offal on the water around the fishing boat.] The early Berlei garments were all rigid garments with lacing for adjustment, but in the mid-twenties the company introduced a simpler line of corselettes without lacing. However these were still made predominantly of rigid material, with relatively narrow strips of elastic on each side, so that there was little scope for error in fitting, and they almost immediately triggered innumerable complaints from customers who could not get garments that fitted them properly. So, in 1926-27, Burley commissioned Sydney University to conduct the world's first large-scale systematic anthropometrical survey of the shape of women's bodies. This showed that women's figures could be grouped into five basic types, and led to the design of the Berlei Figure Type Indicator -- an inexpensive circular slide rule which could be used to quickly determine the correct fitting for any woman. In 1930 he founded Berlei (U.K.) Ltd. This was the first time an Australian company had moved to Britain, but the new company quickly expanded, and is still in business today. Fred Burley took an active interest in the Chamber of Manufactures, the Young Australian League, the Boy Scouts Association, Rotary and many other organisations. He retired in 1950.
In the 30's Berlei advertising placed great emphasis on its trained fitters, using the advertising slogan: Fit your Berlei before your new frock! (Left) An elegant corselette (or Foundation), showing the long smooth line of the 30's.
According to the ad on the right: 'It makes such a difference when you have your Berlei fitted by an expert. A trained fitter can tell which foundations are best for your figure, and those are the only ones she'll show you.' So much for 'The customer always knows best'!
<< Just now, the very smartest wear Berlei Princess Youth Foundations beneath party frocks. They appreciate the evenly-distributed “pull” at, above and below the waist. This perfectly controls flesh at diaphragm. Moreover, the elastic back waist section won't ride up. It gives, takes up again, with every body movement. It's unique!
Flexible yet persuasive and light as nothing-at-all. >> ... and so, they said, we won't be handicapped; we will have freedom, absolute and perfect; free-est freedom; particularly for dancing, especially for sport! Our new foundation must stretch and s .t.r.e.t.c.h and s...t...r...e...t...c...h . . . yet never, never, must it lose control; never cease to cling as close as our own skin; must definitely take responsibility for our continued slenderness. Berlei Two-way Stretch foundations were created for such women as insist on this kind of loveliness. They are perfectly beautiful; they are positively guaranteed!
Some time in the 1950's Berlei began to manufacture Sarong girdles, presumably under license from the American Sarong company. Sarong derived its name (and it supposed advantages) from the construction of the front panel, which was made of two diagonally cut sheets of rigid fabric, overlapping in the front. This patented criss-cross front was allegedly more comfortable than other constructions, and allowed greater freedom of movement. The American company Bestform had an almost identical garment, which they sold under the name Flirtation Walk, and sued Sarong for infringement of copyright. Presumably the case was settled, or dismissed, as the two firms continued to sell their respective versions. To add to the confusion the construction is also very similar to that of the Little X, by Silhouette, the marketing sensation of the fifties in Britain. See Berlei, Sarong and Little X. (Left) 'One of the beautifully fitting Sarong range with patented criss-cross front. Only Sarong lifts and braces tummy muscles, never rides up, gives you an exhilarating sense of comfort and freedom. Berlei Sarong 4404 77/6, Sarong Bra 400 27/6'
In the 1950s Berlei extended the Sarong range to include Sarongsters; a lighter weight range for the younger woman. These were made from a lightweight fabric and they were frequently displayed in English shop windows on transparent Perspex forms lit from within, to emphasise the fineness of the fabric.
In 1964 an advertisement in the Australian Woman's Weekly displayed a bevy of beauties surfing rather unconvincingly in their Sarong Plus girdles and corselettes. Presumably the ‘Plus’ implied that these garments were intended for the more mature figure, but, as usual, the models are all young and lithe. The only visible refinements in the design are that the front panel is now patterned, and the lower edges, which were formerly rigid, now appear to have elastic inserts.
Berlei continued to market Sarong girdles in Australia till at least 1981, but in England the Sarong range was replaced with the gaySlant range, presumably because they had lost the license. The first advertisement I have for the new range is dated 1965, but I have a 1961 advertisement for a Berlei Sarabanda, with 'the lighthearted step-in action', which appears to be identical to the gaySlant. The last English Sarong advertisement I have is also from 1965. The only difference between the two was that in the Sarong the front panel was made up of two overlapping panels of rigid nylon fabric, cut on the diagonal, whereas in the gaySlant the two sheets of fabric were sewn together in the middle and folded back on themselves, as shown on the right. Functionally the two styles were virtually identical, but presumably the difference was sufficient to avoid the American patent.
<< 'This enchanting new Berlei “gaySlant” cuff-waist step-in is in white nylon marquisette and Lycra elastic powernet, with white lace trim on the fold-back front panels. Small, medium, large sizes 49/1.'
At the end of the sixties Berlei made a number of ads which attempted to capitalise on the Freedom movements. This English example claims 'This way to Freedom. Feel the merest, gently-holding whisper on your skin. Delicately shaping. Perfecting. Colours with a kiss of the sun, Mirage Blue and Sun Pink. The light touch of Berlei Desert Flower. Freedom lovers, you create an oasis of loveliness. Mobile. Vibrant. Free as the air. Set free by Berlei and Lycra.' Left Fibre-fill bra 19/11, with breif pantee 29/11.Centre and RightMirage Blue and Sun Pink Shape-Suite, 59/11(The garments in these advertisements are similar in style to the gaySlant range, but no style is actually specified.)
Berlei was still advertising open girdles in Britain in 1969, but by then they seem to have almost disappeared in Australia. Most of the Sarong range had been converted to pantygirdles, although this would appear to completely negate the claimed virtues of the method of construction. So far as I can discover, Berlei never introduced the gaySlant range in Australia. They experimented with a number of different styles, none of which appeared to be particularly successful, and the Sarong continued to be their top-of-the-line girdle, at least till the eighties. I have much more information about the ads used in Australia, but generally they reflected similar themes to the British ones. << Shape yourself young. This theme, of a girdled mother with her young daughter, has recurred frequently in girdle advertisements.
(Right) In about 1969 Berlei ran a series of ads emphasising the low weight and relative comfort of their new range of girdles and pantygirdles. This advertisement I have does not specify any style. This is a pity as this garment is more stylish than most of the Berlei range, which, in my opinion, were generally not particularly attractive. At about the same time Playtex were running a series of decidedly negative advertisements emphasising the relatively low weight of their I Can't Believe it's a Girdle range. I suspect that both these series of advertisements did more to persuade women to give up their girdles altogether than to switch to the advertised brand.
<< This Fancy Free corselette, from 1969, is another relatively attractive Berlei garment, although the panelling is rather fussy and angular. I fear that it was probably yet another short-lived attempt to persuade women not to give up their girdles.
(Right) This Australian ad, from the Herald in November 1971, continued the protest theme. I find it very difficult to imagine that it would have been remotely convincing to the type of woman who would have carried a banner in the protest movements of the day.
<< In Australia, a number of different styles were produced in the late sixties, in an attempt to win back the customers lost to the attractions of the new freer lifestyle. One of these was Berlei Ego, but this does not appear to have been any more successful than any of the others.
(Right) In between was another relatively short-lived style, which supposedly provided less restrictive control for the modern young Miss. It did manage to survive for a few years in the late sixties.
<< Through all these attempts to devise new garments to tempt the younger buyer, Berlei's older customers remained faithful to their Sarongs. This lady, with her sad, resigned air, may well be thinking "If that swine of a man hadn't run off with that bit of fluff, I'd be able to relax now, instead of having to pose in this awful girdle."
(Right) These rather attractive lightweight garments were designed to appeal to the younger set. Around 1970 somebody discovered stay-down legs. These consisted of bands of specially woven elastic, incorporating exposed bare rubber, either as thread or strips of latex. These supposedly prevented them from riding up, tugging or twisting. They were soon adapted by all major manufacturers. I don't know if Berlei's version was any more successful than Hickory's, which quickly disintegrated and scattered sticky bits of rubber on toilet seats and the like.
<< Willpower was another of Berlei's relatively ugly heavy-duty garments, presumably introduced in an attempt to supersede the by then rather dated Sarong range. This example makes it clear that this garment was intended for the mature customer. It also introduces - yet again - the message that a good girdle will make up for bad eating habits.
(Right) Another ad for Willpower, using a younger model this time. This was a year later, and the (presumably rigid) floral lace on the tummy panel in the earlier ad has been replaced by a plain panel, possibly of heavy elastic.
<< Berlei's last Hurrah! By the 1980s it was becoming obvious that the heavy panel girdles of the past had become passé, and girdle ads were becoming much less common. It is appropriate that this ad should be for the Sarong, which had been the flagship of the Berlei range for more than 30 years. Times were changing, both for the girdle makers and for the magazines which advertised their wares. Berlei took over Hestia, another longstanding Australian company, and then apparently got out of girdles altogether. Berlei is still in business, but now concentrates primarily on bras, though they show a few briefs and singlets. They also have a Zen range of Active wear.
Although Berlei and Hestia combined at some stage, Hestia still has its own homepage. However it comes under the Pacific Brands umbrella, along with Berlei, Bonds (primarily men's underwear) and Holeproof (underwear, hosiery and socks). Holeproof brands include Explorer socks, Rio underwear, Antz Pantz, Holeproof Slipper Socks, Holeproof Hunks (men's underwear), Holeproof Underdax and Love Kylie (lingerie). Holeproof used to be famous for the slogan 'Lovely Lovely Lovely Holeproof Hosiery'. Even that Australian icon, the Australian Women's Weekly, which had been published since 1933, and which could be found in virtually every Australian home in the Fifties and Sixties, ran into difficulties, and is now a monthly publication, although it retains the old title. |
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The Art of Corsetry Ed: Bunyip Bluegum |
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