Black To Nature

From Accord Vol 2 No 10 – 1974

The title alone in this present age is provocative, but let not our gentle reader worry, what follows is no sermon or hymn of praise to the “supremes” et al.

As is well known, it was in early Victorian times that women began to wear what was then known as unmentionables. Indeed, they wore a great many clothes both outer and under and no doubt for practical purposes black stockings first came into use. Black “Drawers” being a more recent addition, probably in the Edwardian period. In those days many men never saw a naked woman, but the Victorian man’s dream of his “ideal” soon centred on these garments which clung closely to the erotic zones of her body. It must be remembered too, that a pure white skin was much prized and men soon discovered the sexual attraction of a partly dressed girl in black corset, drawers etc., highlighting the white skin of her thighs and bosom. It is of course the old story of what is not seen being more stimulating than what is! The male imagination in such matters is his most successful stimulant and with memories of Chorus Girls, Can Can Dancers, “Naughty Maids” and other reputedly sexually free women, he rushes out to buy his wife, mistress etc., what he feels will improve his sex life! Respectable ladies however, are often a little doubtful about such apparel, knowing full well their source and dubious reputation! They seldom buy “Black Undies” for themselves and horror of horrors, often surreptitiously exchange it for a “Nicer” article at a later date, leaving the poor man in a state of frustration.

From this, one can see that tradition even in underwear plays its part. It must also be remembered that in earlier days and probably even now a man’s first sight and or experience with women’s underclothes is the schoolgirl’s bloomers and black stockings. Thus, at an early age the die is cast, and the contrast of black material on white flesh is established in the male mind as the most erotic of sights. Strange is it not, that garments such as these, supposedly ugly should produce such an effect.

To consider individually what makes up the whole, a definite eye-catcher was not just the legs but the stockings that adorned them. Very often they were black, which made a sensuous contrast with the creamy skin above, and, as a sort of erotically-inviting topdressing, above the stocking tops and tightly spanning their thighs, were elaborate and sometimes frilled suspenders. Also, black. True, occasionally there might be garters, and that seemed just as inviting. Visually, the area was decorated. Nowadays it is laid out as plain and dull like and architect’s drawing.

There was, and still is, something exotic about black stockings. Two things in fact, although the second is common to all stockings. The first, is the colour contrast, and the fact that black silk or nylon enhances every curve or line from mid-thigh to knee to calf to ankle. Even plump legs – which many favour – look twice as good in black stockings. The other piece of sensuous delight is the sense of touch. In magazines of the 30’s, 40’s consisted simply of short stories illustrated with very appealing line drawings in which every girl was a Dors or Andress, and thighs were for touching. Breasts were often half-concealed beneath brief filmy bras. The stories did not use four-letter words, since at that time (as in the fifties, even), they were forbidden in law. Believe it or not – the absence of those rude words made those stories more erotic. The writers had to work a lot harder to build-up an erotic atmosphere, and as every writer knows, what you leave out the reader will more imaginatively fill in. Obviously, your imagination as a reader is a far greater store of sensuous and erotic imagination than a writer can lay in print before you.

Think about it a little and you will realise that modem “erotica” offers the reader very little indeed. Basically, there is kissing, an exchange of four-letter phrases, stripping off the clothes, and then the inevitable.

Writers of the thirties and forties and before, did a lot of drawing. They lingered over stockings and thighs; they dwelt longer over those moments when a lover’s “trembling fingers” began – in the midst of impassioned lovemaking – to lift the hem of the girl’s skirt. The journey wasn’t as short as it was today, but that made the explorations all the more memorable. The heroes of those forgotten tales did not simply “thrust their hand up” . . to use today’s crude expression. Every part of the movement from knee to stocking tops was tenderly described. Few writers missed contact of the male palm and fingers exploring those areas of silk or nylon clad legs. And then, there was the rich transition from taut stocking tops (stopping to taste the feel of suspenders or garters), to the creamy columns of warm, waiting thigh flesh. Those were truly the days, for by this stage the reader was dry-lipped with expectancy, waiting desperately for those sly fingers to begin a new exploration, of her “lacy edged panties.”

By the time this stage was reached, the writer had to turn elsewhere, for from this moment on, you imagined the rest of her thighs, and from there on you climbed the erotic staircase of thinking-bliss. You imagined the plumpness of her bottom beneath the veil of well-stretched panties. You imagined … in fact, that word is the clue to the black stocking thing. Suggestive. It introduces sensuousness and sexiness in the girl who is wearing them and we have seen the conscious and unconscious reasons for that. It makes out too, that she knows they are naughty and wants them to be; it suggests that she want to “display’ rather in the way that girls displayed when they wore miniskirts.

The real, fundamental, purpose of drawers would be a matter of much debate. They fulfil many purposes but, it is their erotic values rather than others, that we must deal, however practical the others might be! Drawers have figured in all erotic literature, and often in literature that is erotic only as a secondary feature. Any man who claims no interest in drawers would seem to be a candidate for a personality investigation . . . any normal man, that is. Drawers form the last barrier, though often a very formidable one, between a man and his desires. These desires can be focused on the front of the drawers, or the buttocks. Most men have found both areas attractive equally at some time in their sexual lives. That all this proves drawers follow the dictates of a well proven fact . . . that which conceals, enhances. To slowly slide a woman’s drawers off her hips does many things for a man, not the least being a demonstration of his virility, as he lowers the final barrier between him and fulfilment. No other interpretation is supported by the facts.

So, when all is said and done, drawers dropped or taken down don’t reveal anything novel, new or very different. What they do demonstrate is that a sequence of events has begun, a ritual commenced.

A woman’s drawers sliding down smooth thighs, is many, many things. It’s submission, for one . . . and submission improves a man’s mastery, and mastery is more a part of sex than is usually realised. It means that for that moment the woman whose drawers are slipping off to reveal her sex and make it available to the drawers-remover, has chosen that male to master her sexually and spiritually for as long as it lasts.

All this is a result of the look and the feel of drawers, the feel to a man, that is, is something extremely special. As a man’s fingers delve into the secret wall of fabric that only remains between him and a girl’s sex, he is a very special person, the only man at that moment for that girl. For many men the removal of a girl’s drawers can dwell longer in his memory than may the actual moment of his entry into her. Therefore, the challenge, is met and fulfilled in that lovely moment when his fingers hook into the waist of a woman’s drawers and slowly and neatly begin to lower them down her shrinking hips. Drawers have always played a considerable part in the intimacy between the sexes. It would seem that this day and age is unusual for the bold manner in which women, with skirts very brief display the drawers beneath their tights.. Yet what about the directoire drawers of the 19th century. The principle was precisely the same. The drawers of the past could be just as provocatively flashed by a discreet manipulation of the crinoline as can the skimpy pants of today by a sudden breeze, or the careless fling of a girl mounting a bus or staircase.

There is still a love among some men for a return to the more voluminous drawers of yesteryear … and all it can mean, is that the more elaborate the drawers the more deeply intriguing is the prospect of the soft, delicious chasm beneath them, and thus more delightfully delayed its revelation as the crackling, rustling linen of legged drawers are pulled down quivering thighs … a slower curtain to the drama to be played, than the whisking down of the wisps of nylon that scarcely mask what lies beneath.

Always, always in the delicious story of drawers is the pleasure imagined in their removal! Drawers represent over a broad front, reticence, rectitude and purity … to both men and women. The literature of abnormal behaviour is full of stories of men for whom drawers in themselves are sufficiently an erotic object.

In a similar vein the Corset plays, perhaps a lesser part, but to most men an equally erotic symbol of female sexuality. The corset’s great attraction and joy is in the way it restricts. The same of course goes for stays. The name of the original material used to give the corset, or stay, its rigidity, its inflexibility, its restriction, is a delight in itself… whalebone! One has had to cheat for many years now to call the stiffeners whalebone with any accuracy. Whalebone is made from the jaw of certain whales, and the Oxford English Dictionary, so often full of lovely surprises and morsels of saucy information, makes a note under “whalebone,” “A riding whip of whalebone, 1842.” One can imagine girls who wouldn’t want a leather whip across their bottoms making an exception if it was made of whalebone! The dictionary explains that whalebone is used as stiffening in women’s stays, dresses etc., and gives a quotation from Addison namely, “A female who is thus invested in whalebone is sufficiently secured against the Approaches of an ill-bred Fellow.” In those days this was looked upon as the main function of whalebone, to make access to the lady’s body difficult, to delay for a time, at least, eager hands grappling to get to grips with the object of his desire.

The function of corsets or stays is, of course, to restrict, to hold in and confine . . . and the excuse for subjecting the lady’s waist and bust, hips and bottom to this nipping, is appearance, the achieving of the hour- glass figure. Women still wish of course for the hour-glass figure, as witnessed by the modern corsets advertised on T.V., but to the connoisseur, the modern corset isn’t restrictive enough, doesn’t bite into the waist and bosom enough, doesn’t exaggerate enough. Most men like corsets or stays to be tight because they see in this restriction, a well-earned punishment for the wearer, a punishment with a hint of sterner measures if discipline isn’t restored.

Corsets also restore the womanliness to the female. It’s the bulges, the curves, a tight corset produces that attracts them, making them aware that it’s a woman they are dealing with . . . have at their disposal. It also reassures them that women are the centrepiece of their sexual demands, dismissing any doubts that they could have of the direction of their sexuality. For them, a woman is a woman because of her curves, just as a man is essentially a thing of angles, bumps and callouses. Men like to accentuate the things of a woman that makes her a woman. They like to see her bosom forced up and outward by a tight corset-top, also that the flesh cups spills over! They like to see her waist dive in … if only for pleasure of seeing how it flares out again at her hips, or how the line behind the corset or stays, pulls her in and thus accentuates the curve of her buttocks.

Admittedly, this dissertation has wandered a little from the original title but such is the diversity of man’s sexual appetite, that all three articles of feminine apparel, stockings, drawers and corset hold something for the connoisseur. Combined together on the one woman, spaced with areas of flesh is quite sufficient to drive the strongest of men to distraction. It would appear that the relation of nudity to the wearing of underwear, creates in itself an erotic symbolism. Traditionally, what are considered the erotic parts of the body are well covered by underwear, once again endorsing the view that what is seen has no mystery and so becomes de-sexed. Women’s underclothes have always held such mystery for men, symbolising as they do the last barrier before the final nakedness.

Of course, over the years, more and more of a woman has been exposed, legs being the most obvious example. A foot or ankle in the last century, could rouse the male to ecstasy which may, or may not, account for a lot of what was wrong with Victorian sexual life. The “Black is Beautiful” syndrome combines the stark contrast of white flesh and black underwear, the colour black traditionally being not quite “proper” with the supposed purity or goodness of the female.

It also somewhat naturally gives the woman a “Loose” air which for herself and her partner improves and prolongs their passion!

To reduce the whole subject to its basic, is perhaps to simplify it too much but an interest in underwear is totally bound up with an interest and delight in sex. The woman in general enjoys her “Boldness” the man enjoys her – a combination much to be desired.

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