Revival of Sensuality: Bras Giveaway at Lake Garda Venue

She has nothing to envy (at least in terms of measurements) from Monica Bellucci. He, on the other hand, has nothing of Tinto Brass.

The scene and the atmosphere

Her name is Stefania, and she’s a girl-image. He is Puccio Gallo, master of the dance nights at Lake Garda.

She “offers” herself generously. He approaches her amused. However, the setting is not that of an anonymous office in a celebrated TV commercial, surrounded by cold neon lights and computers.

Dim lighting, deafening music, and streams of whisky with ice create an intriguing atmosphere. Everything unfolds within moments: a hand reaches toward her shoulder strap and the bra, like a coveted trophy, slips lightly from the alluring girl’s mesh dress.

And the game of seduction is on. Before the eyes, excited by smoke and curiosity, a crowd of young people observes.

Mother’s intervention and the popularity of the venue

In a corner, discreetly, Mrs. Maria Teresa, the ever-present mother of Puccio, the discotheque owner, peers in. She smiles, knowing that this “see-and-not-see” game is appreciated.

And that the return to the locale, the “Sesto Senso” in Desenzano, on the Brescia shores of the lake, is guaranteed.

Even the amorous elegies of poet Catullus could not have matched the moment of appeal and escape—the idea of discarding bras.

Just like cars or houses. Thus, the centuries-old object of desire – “another gift of French ingenuity to the world,” born in 1889 thanks to Madame Herminie Cadolle, as history recounts – has taken its revenge, thanks to the local merchants.

Distribution of bras and a return to sensuality

Last night, at least sixty “push-up” bras were given away to those bringing in an old bra.

Light, aesthetic, charming, angry. Balcony style, lace, with bows, half-cup or full-cup models.

Among the reflections of the lake, already smelling of summer, bras of all kinds were seen. A deliberate exaltation in that subtle erotic game of promises, all to be discovered, from those who “contain the strong, support the weak, gather the lost.”

The revival of erotism

After years of mortification amid anorexic and androgynous beauties, breasts are once again triumphant. As in the 1930s or the post-war era with Marilyn-like “enhanced” figures.

The dark period of feminist bonfires, where burning bras symbolized the reclaiming of freedom, is now a distant memory.

And that light garment, capable of covering without concealing, of highlighting without appearing, recovers its symbolic role of erotism and desire.