Cleavage, anatomically known as the intermammary cleft or the intermammary sulcus (sulcus intermammarius), is the space between a woman's breasts, lying over the sternum. It is often considered as aesthetic or erotic, and is often associated with garments with low necklines that expose or highlight cleavage, such as ball gowns, evening gowns, lingerie, and swimwear.
- 1 Anatomy
- 2 Culture
- 3 History
- 4 Cleavage enhancement
- 5 See also
- 6 Sources
- 7 External links
Cleavage, or the intermammary suculus, is the space between the breasts. Cleavage is delineated by where the fatty portions of each breast sits in relationship by the sternum, or breastbone. It divides the two mammary complexes that consist of two bodies of fatty pads, glandular tissues of mammary glands, connective tissues, and skin, as well as two duct systems (lactiferous duct of lymphatic vessel) and lobule alveoli emanating from two nipples. Lymph vessels can ventrally extend as far as the intermammary sulcus.
The International Federation of Associations of Anatomists (IFAA) uses the terms "intermammary sulcus" or "intermammary cleft" when referring to the area of cleavage between the breasts not including the breasts. For legal purposes it was noted by the United States federal courts that "anal cleft or cleavage" and "cleavage of the female breast" are so imprecise as to provide no guidance in defining them. Medically, the "width" of a woman's cleavage is determined by the attachment points of her breast tissue to the periosteal tissue covering her breast bone. and is also defined somewhat by the medial attachments of the pectoralis major muscle when implants are in the sub-muscular position.
Many people in Western culture, both male and female, consider breasts an important aspect of femininity and many women use cleavage to enhance their physical and sexual attractiveness and to improve their sense of femininity. Display of cleavage is often regarded as a form of feminine flirting or seduction, as much as for its aesthetic or erotic effect. Most men derive erotic pleasure from seeing a woman's cleavage, and some people derive pleasure in their female partner exposing cleavage. Many women regard breasts as an important female secondary sex characteristic, and a factor in their sexual attractiveness. When cleavage is enhanced with a push-up bra or exposed by a low neckline it draws considerable attention. During adolescence, some girls become obsessed with breast shape and cleavage.
In Western and some other societies, there are differences of opinion as to how much cleavage exposure is acceptable in public. In contemporary Western society, the extent to which a woman may expose her breasts depends on social and cultural context. Though displaying cleavage can be permissible in many settings, it may be prohibited by dress codes in settings such as workplaces, churches, and schools, where exposure of any part of female breasts may be considered inappropriate. While in some spaces showing as much cleavage as possible is encouraged, showing the nipples or areolae is almost always considered immodest and in some instances is viewed as lewd or indecent behavior.
The obsession about breast and cleavage is not universal to all people. When breasts begin to grow, some girls try to resist the change by binding down their breasts or wearing loose clothes that disguise them. Gymnophobics, may feel uncomfortable with the sight of a woman's cleavage or object to low-cut clothing for modesty or other reasons. Journalist Carolyn Latteier commented in Berman & Berman's TV program All about breasts, "I interviewed a young anthropologist working with women in Mali, a country in Africa where women go around with bare breasts. They're always feeding their babies. And when she told them that in our culture men are fascinated with breasts there was an instant of shock. The women burst out laughing. They laughed so hard, they fell on the floor. They said, 'You mean, men act like babies?'"
The cleavage area between the breasts is perhaps the epicentre and stimulation of interest. Breast and buttock cleavages, sharing a similarity between their appearances, are considered to be very sexual. British zoologist and ethologist Desmond Morris theorizes that cleavage is a sexual signal that imitates the image of the cleft between the buttocks. Swelling of the anterior is a sign of mating-readiness in ape species. Among humans the female genitalia is regressed and the upright posture reduces visibility of the buttocks, but the breasts are significantly enlarged. Theorists hypothesize that with these evolutionary change measure of mating-readiness and attractiveness in females has shifted from swagging buttocks to the pendulous shape of breasts and cleavage. The same evolutionary trait explains the attarctiveness of other pendulous shapes (i.e. ear lobes) and other cleavages (i.e. toe cleavage).
Evolutionary psychologists theorize that humans' permanently enlarged breasts, in contrast to other primates' breasts, which only enlarge during ovulation, allowed females to "solicit male attention and investment even when they are not really fertile", though Morris notes that in recent years there has been a trend toward reversing breast augmentations. According to social historian David Kunzle, waist confinement and décolletage are the primary sexualization devices of Western costume. Also, in South Africa, Wonderbra sponsors a National Cleavage Day during which women are encouraged to display their cleavage. Art historian James Laver argued that the changing standards of revealing the cleavage is more prominent in the evening dress than the day dress of women in the Western world.
In 2600 BCE, princess Nofret of the Fourth Dynasty of Egypt was depicted in a V-neck grown with a plunging neckline that exposed ample cleavage. In 1600 BCE, Snake Goddess figurines were sculpted in Minos with open dress-fronts, revealing entire breasts. In the earliest times there was no consideration for supporting the breasts to enhance cleavage. A bra prototype started emerging in Ancient Greece in around 2500 BCE.
Age of acceptability
In Europe during the Middle Ages, when women wore shapeless clothing, art frequently portrayed women with one or more of their breasts exposed to signify fertility rather than sexuality. Décolletage was often a feature of the dress of the late Middle Ages. This continued through the Victorian period. Gowns that exposed a woman's neck and top of her chest were very common and uncontroversial in Europe from at least the 11th century until the Victorian period in the 19th century. Ball or evening gowns especially featured low square décolletage designed to display and emphasize cleavage. The wearing of low-cut dresses that exposed breasts was considered more acceptable than it is today—with a woman's bared legs, ankles, or shoulders being considered to be more risqué than exposed breasts.
In the 14th century, necklines were lowered, clothes were tightened and breasts were once again flaunted. It was during the Renaissance period that the corset was born. Breasts were pushed up, pushed together and molded into firm protruding decorations that emphasized breasts to the maximum. In 1450, Agnès Sorel, mistress to Charles VII of France, is credited with starting a fashion when she wore deep low square décolleté gowns with fully bared breasts in the French court. Other aristocratic women of the time who were painted with breasts exposed included Simonetta Vespucci, whose portrait with exposed breasts was painted by Piero di Cosimo in c.1480. The Ottoman Empire decreed that "all gowns should open at the neck to allow robing and disrobing", and a trype of @fashion police was engaged to apprehend and fine designers and tailors who failed to make such gowns.
In many European societies between the Renaissance and the 19th century, wearing low-cut dresses that exposed breasts was more acceptable than today; with a woman's bared legs, ankles, or shoulders being considered to be more risqué than exposed breasts. In aristocratic and upper-class circles the display of breasts was at times regarded as a status symbol, as a sign of beauty, wealth or social position. The bared breast even invoked associations with nude sculptures of classical Greece that were exerting an influence on art, sculpture, and architecture of the period. After the French Revolution décolletage become larger in the front and less in the back.
During the 16th century, women's fashions with exposed breasts were common in society, from queens to common prostitutes, and emulated by all classes. Anne of Brittany has also been painted wearing a dress with a square neckline. Low square décolleté styles were popular in England in the 17th century and even Queen Mary II and Henrietta Maria, wife of Charles I of England, were depicted with fully bared breasts; and architect Inigo Jones designed a masque costume for Henrietta Maria that fully revealed both of her breasts. During the fashions of the period 1795–1820, many women wore dresses that bared necks, bosoms and shoulders. Anne of Austria was known for wearing, along with female members of her court, very tight bodice and corsets that forced breasts together to make deeper cleavages, very low necklines that exposed breasts visible almost in entirety above the aereola and pendants lying on the cleavage to highlight it.
Age of controversy
During the Victorian period, social attitudes required women to cover their bosom in public. For ordinary wear, high collars were the norm. Towards the end of the Victorian period (end 19th century) the full collar was the fashion, though some décolleté dresses were worn on formal occasions (see 1880s in fashion). The Gallican Church mandated that the cleavage and the opening of a woman's bodice must be laced and declared the cleavage as "the gate of hell".
During the French Enlightenment, there was a debate as to whether a woman's breasts were merely a sensual enticement or rather a natural gift to be offered from mother to child. In Alexandre Guillaume Mouslier de Moissy's 1771 play The True Mother (La Vraie Mère), the title character rebukes her husband for treating her as merely an object for his sexual gratification: "Are your senses so gross as to look on these breasts – the respectable treasures of nature – as merely an embellishment, destined to ornament the chest of women?" Nearly a century later, also in France, a man from the provinces who attended a Court ball at the Tuilleries in Paris in 1855 was deeply shocked by the décolleté dresses and is said to have exclaimed in disgust: "I haven't seen anything like that since I was weaned!"
In 1884, a portrait painting by John Singer Sargent of American-born Paris socialite, Virginie Amélie Avegno Gautreau, was criticized for depicting her in a sleek black dress displaying what was considered scandalous cleavage and her right shoulder strap fallen off her shoulder. The controversy was so great that he reworked the painting to move the shoulder strap from her upper arm to her shoulder, and Sargent left Paris for London in 1884 his reputation in tatters. The painting was named "Portrait of Madame X". In 1908, a single pad made of rubber or a "bust form" was advertised that was to be worn inside the front of the bodice to make cleavage virtually undetectable.
Clergymen all over the world became shocked when dresses to be worn with modest round or V-shaped necklines became fashionable around 1913. In the German Empire, for example, all Roman Catholic bishops joined in issuing a pastoral letter attacking the new fashions. Fashions became more restrained in terms of décolletage, while exposure of the leg became more accepted in Western societies, during World War I and remained so for nearly half a century.
Age of reintroduction
In 1953, Hollywood film The French Line was found objectionable under the Hays Code because of Jane Russell's "breast shots in bathtub, cleavage and breast exposure" while some of her décollete gowns were thought "...intentionally designed to give a bosom peep-show effect beyond even extreme decolletage." But other actresses defied the then standards. For example, Gina Lollobrigida raised eyebrows with her famous low-cut dress in 1960, and other celebrities, performers and models followed suit, and the public was not far behind. Low-cut styles of various depths are now common in many situations. During the 1950s, Hollywood and the fashion industry successfully promoted large cloven bustlines (and falsies). In the late 1960s, erogenous attention began to shift from the large bust to the trim lower torso, reasserting the need to diet, especially as new clothing fashions—brief, sheer, and close fitting- prohibited heavy reliance on foundation lingerie. Legs were relatively less emphasized as elements of beauty.
From the 1960s onward, however, changes in fashions were towards increasing displays of cleavage in films and television, with Jane Russell and Elizabeth Taylor being the biggest stars who led the fashion, and in everyday life low-cut dress styles became very common, even for casual wear. During a short period in 1964, "topless" dress designs appeared at fashion shows, but those who wore the dresses in public found themselves arrested on indecency charges. Display of cleavage can still be controversial. In the United States, in two separate incidents in 2007, Southwest Airlines crews asked travelers to modify their clothing, to wear sweaters, or to leave the plane because the crew did not consider the amount of cleavage displayed acceptable. In Langley, British Columbia, a young woman was sent home from her high school for wearing a top that her principal deemed inappropriate because “it showed too much cleavage”.
German Chancellor Angela Merkel created controversy when she wore a low-cut evening gown to the opening of the Oslo Opera House in 2008, U.S. Senator Hillary Clinton and British Home Secretary Jacqui Smith drew attention for wearing low-cut blouses that revealed a small amount of cleavage, resulting in comments in the Washington Post and the New York Times. Vera Lengsfeld, the Conservative Christian Democratic Union candidate for Berlin's Friedrichshain-Kreuzberg district, used pictures of herself and German Chancellor Angela Merkel in low-cut dresses during her political campaign. Facing a tough campaign, she posted 750 provocative campaign posters accompanied by the slogan "We Have More to Offer." In a tough campaign, she wanted to draw attention to "serious election issues." The posters had a positive impact.
Various methods have been used by women in history to accentuate breasts.
Corsets that enhanced cleavage were introduced in the mid-16th century. By the late 18th century cleavage-enhancing corsets grew more dramatic in pushing the breasts upwards. The tight lacing of corsets worn in the 19th and early 20th centuries emphasized both cleavage and the size of the bust and hips. Ball or evening gowns especially were designed to display and emphasize the décolletage.
When corsets became unfashionable, brassieres and padding helped to project, display and emphasize the breasts. Several brassiere manufacturers, among them Wonderbra and Victoria's Secret, produce push-up and other types of bras that enhance cleavage.
- Push-up bra: A push-up bra is usually a demi-cup bra. Wonderbra was the first push-up bra made. A push-up bra creates the appearance of increased cleavage. These use angled cups containing padding that pushes the breasts inwards and upwards, towards the center of the chest.
- Plunge bra: A plunge bra, Designed with angled cups and an open and lowered central panel, allows for increased décolletage. Unlike push-up bras, these are not generally as heavily padded.
- Padded bra
- Wired bra
- Extreme-cleavage bra: Frederick's of Hollywood introduced a design called Hollywood Extreme Cleavage Bra that helped give the impression of a spherical cleavage like augmented breasts that was popularized by stars like Pamela Anderson.
- Modern corset: In 1985, designer Vivienne Westwood influenced the re-emergence of the corset as a trendy way to enhance cleavage.
Many women, including beauty pageant participants and cross-genders, create glamorous cleavage by using duct tape painfully underneath and across their breast, bending forward, tightly pulling them together and up. Types of tape used include surgical micropore tape and athletic tape. Some also use a strip of moleskin across under the breasts with tape at the ends to hold it in place. Use of the wrong techniques or tape with too strong an adhesive can cause injuries such as rashes, blisters, and skin being torn off.
Falsies are small pads similar to the removable pads sold with some push-up bras. Falsies made from silicone gel are also sometimes referred to colloquially as "chicken fillets". Hollywood actress Helen Talbot said that she was expected to war falsies while shooting in 1940s. Falsies evolved from the bosom pads of 17th century, often made of stiff rubber.
By mid 1800s, the Victorian era, "bust improver"s were being made out of soft fabric pads of cotton and wool or inflatable rubber. In 1896, celluloid falsies were advertised, and in 20th century soft foam rubber pads became available. Young women, some as young as 15 years old, were expected to wear them to fill out their bodices.
Bigger breasts are easier to push together to accent the hollow between them. Some flat-chested women feel self-conscious about their small breasts and want to improve their sexual attractiveness by seeking breast augmentation. If a woman has breast implants positioned in the sub-muscular region, her cleavage is also defined to an extent by the medial attachments of the pectoralis major muscle. Implants do not by themselves make a woman's cleavage wider unless the physician overextended or stretched the lateral dissection from the contraction of the pectoralis major muscle.
If a surgeon tries to increase cleavage by loosening the inside borders of the breast, it could end up with symmastia, a confluence of the breast tissue of both breasts across the midline anterior to the sternum.
Regular exercise of the muscles and fibres of the pectoral complex, which lies just under the fatty tissues of the breast, helps prevent droopiness, creates the illusion of larger and firmer breasts, and enhances cleavage. Exercises like incline chest press and chest fly are the most effective in developing breasts and getting a better cleavage. Weight training, nautilus machines, push ups and chest presses are particularly helpful, as well as s number of other exercises, including rowing and basketball.
For beginners flat chest dumbbell pullovers and dumbbell flyers on incline bench is recommended, while the advanced exercisers may include bench press movements, flyers, pullovers, exercise of the pec deck and push-ups at least twice a week. Cleavage enhancing exercises can be grouped into four parts:
- An incline exercise accentuates the upper chest and declines stresses the lower region. It helps augment proportions and symmetry.
- Properly developed upper pectoral region, with help from incline exercises, give an appearance of a firm, elevated chest.
- The lower pectoral region is the easiest to develop, and, unless it is a specific weak spot, does not need occasional decline exercises.
- Push-ups are great complimentary exercise, sometimes also as an alternative to chest presses.
Making cleavage appear deeper and the breasts look fuller alongside the cleavage with makeup is achieved using shading effects. The middle of the cleavage is made to look deeper by using a darker makeup colour than the base colour of the skin, while the most prominent areas of the breasts (either side of the cleavage) are made to look larger or more protruding by the use of a paler colour.
In 2006, British actress Keira Knightley wore a revealing Gucci dress at the European premiere of Pirates of the Caribbean: Dead Man's Chest that displayed her skinny body and flat chest. Her breasts were digitally enlarged on the U.S. theatrical version of the poster for both that movie and for the movie King Arthur. This practice angered Knightley, who said that it "comes from market research that clearly shows that other women refuse to look at famous actresses and stars with small breasts." Later in 2006, Knightley claimed she is "not allowed to be on a magazine cover in the US without at least a C cup because it 'turns people off'."
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|Wikimedia Commons has media related to Cleavage (breasts).|
- "Sargent's Portraits", an article including a mention of the scandal caused by the portrayal of cleavage in John Singer Sargent's "Portrait of Madame X".
- The Great Divide, a NY Times article on the cleavage