Brazilian bikinis and the birth of bikinis for women (part 2)

The bikinis of course was invaluable in all this. France's own superstar of the era, Brigitte Bardot, made the Brazilian bikinis -look her own, and made her base down the coast at St Tropez equally fashionable at the same time. In seminal shockers like 'And God Created Woman' the ultimate sex kitten helped revolutionise the cinema's attitude to bare flesh.

Meanwhile, stars from all over the world took to the promenade and beach at Cannes and other Mediterranean resorts in the skimpiest of two piece swimsuits in front of the world's cameras. British stars and starlets who found the bikinis a publicity boon included Joan Collins and Dianna Dors who was launched gondola-wise in at Venice film fest of 1955.

Hollywood didn't take long to realise the pay potential of this daring flashing of flesh, despite a conservative streak that went right through public life in the 50s and culminated in a strict self-censorship by the movie studios that made Brigitte's flamboyant (and seemingly natural) disrobing unthinkable on a US film set.

However, the barriers were there to comedown, the bosoms and bottoms would eventually be bared, and it took pioneers like Jayne Mansfield, the B-movie-ubiquitous Mamue Van Doren and glamour model Bettie Page to do just that.

Jayne Mansfield was the 'Girl Can't Help It' bombshell who seemed to do more photo sessions than films, and whose figure was almost literally over the top most of the time. Although unfairly likened to a 'poor man's Marilyn', there was very little ambition to being the serious actress with Ms Mansfield; Jayne just loved publicity, and the myriad bikinis for women picture-calls provided lots of that. She even helped market a line of JM-in-bikini hot water bottles which are now collectors' classics.

Mamie Van Doren was the femme fatale of a dozen scorching second features including such teen-teaser epics as 'High School Confidential', 'Girls Town', 'Untamed Youth' and her all-time critical low 'Sex Kittens Go to College'. Well into her late twenties when she made these kitsch classics in the late 50s, she was happy to be cast as the rebellious teenage sex-pot, balancing her youth-cult status in the movies- more often than not in tight-sweater-and-jeans roles - with adult acceptance through the pages of the glamour mags, where she was usually to be found bikinis clad- or less.

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