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The modern bikini was invented by French engineer Louis Réard in 1946. He named it after Bikini Atoll in the Pacific, the site of an atomic bomb test on July 1, 1946. Réard hoped that the burst of excitement it caused would be as explosive as an atomic bomb. Since his contemporary Jacques Heim had called his bikini precursor the Atome in view of its size, Réard claimed to have "split the Atome" to make it even smaller. His innovation was to expose the navel, which was not done in earlier two-piece bathing costumes. Though a moderate hit in France, it was not well accepted in other parts of the world. The Miss World contest in UK, the Hays production code in the US, and the Catholic countries banned the costume. But, the advent of bikinis in popular media, including Ursula Andress's white bikini in Dr. No., Brian Hyland's song "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini", and the Sports Illustrated Swimsuit Issue, eventually gained social acceptance for the bikini. By the early 2000s, bikinis had become a US$811 million business annually, and boosted spin-off services like bikini waxing and the sun tanning industries. Further variants were added to the bikini family of beachwears and bathing costumes, contributing to the popular lexicon a variety of -kinis and -inis.
Artwork dating back to the Diocletian period (286-305 AD) in Villa Romana del Casale, Sicily, excavated by Gino Vinicio Gentile in 1950-60, depicts women in garments resembling bikinis in mosaics on the floor. The images of ten women, dubbed the "Bikini Girls", exercising in clothing that would pass as bikinis today, are the most replicated mosaic among the 37 million colored tiles at the site. In the artwork "Coronation of the Winner" done in floor mosaic in the Chamber of the Ten Maidens (Sala delle Dieci Ragazze in Italian) the bikini girls are depicted weight-lifting, discus throwing, and running. Some activities depicted have been described as dancing, as their bodies resemble dancers rather than athletes. Coronation in the title of the mosaic comes from a woman in a toga with a crown in her hand and one of the maidens holding a palm frond. Some academics maintain that the nearby image of Eros, the primordial god of lust, love, and intercourse, was added later, demonstrating the owner's predilections and strengthening the association of the bikini with the erotic. Similar mosaics have been discovered in Tellaro in northern Italy and Patti, another part of Sicily. Prostitution, skimpy clothes and athletic bodies were related in ancient Rome, as images were found of female sex workers exercising with dumbbells/clappers and other equipment wearing costumes similar to the Bikini Girls.
Charles Seltman, a fellow of Queens' College, Cambridge, curator of the Archaeology Museum there and an editor of The Cambridge Ancient History, illustrated a chapter titled "The new woman" in his book Women in Antiquity with a 1950s model wearing an identical bikini against the 4th-century mosaics from Piazza Armerina as part of a sisterhood between the bikini-clad female athletes of ancient Greco-Romans and modern woman. A photograph of the mosaic was used by Sarah Pomeroy, Professor of Classics at Hunter College and the Graduate Center, City University of New York, in the 1994 British edition of her book Goddesses, Whores, Wives and Slaves to emphasize a similar identification. According to archeologist George M.A. Hanfmann the bikini girls made the learned observers realize "how modern the ancients were".

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In ancient Rome, the bikini-style bottom, a wrapped loincloth of cloth or leather, was called a subligar or subligaculum ("little binding underneath"), while a band of cloth or leather to support the breasts was called strophium or mamillare. The exercising bikini girls from Piazza Armenia wear subligaria, scanty briefs made as a dainty version of a man's perizoma, and a strophium band about the breasts, often referred to in literature as just fascia, which can mean any kind of bandage. Observation of artifacts and experiments shows bands had to be wrapped several times around the breasts, largely to flatten them in a style popular with flappers in the 1920s. These Greco-Roman breastbands may have flattened big breasts and padded small breasts to look bigger. Evidence suggests regular use. The "bikini girls" from Piazza Armenia, some of whom sport the braless look of the late 20th century, do not depict any propensity of such popularity in style. One bottom, made of leather, from Roman Britain was displayed at the Museum of London in 1998. There has been no evidence that these bikinis were for swimming or sun-bathing.

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Finds especially in Pompeii show the Roman goddess Venus wearing a bikini. A statue of Venus in a bikini was found in a cupboard in the southwest corner in Casa della Venere, others were found in the front hall. A statue of Venus was recovered from the tablinum of the house of Julia Felix, and another from an atrium in the garden at Via Dell'Abbondanza. Naples National Archaeological Museum, which opened its limited viewing gallery of more explicit exhibits in 2000, also exhibits a "Venus in Bikini". The museum's exhibits include female statues wearing see-through gold lamé brassiere, basque and knickers. The Kings of Naples discovered these Pompeii artifacts, including the one meter tall, almost unclothed statue of Venus painted in gold leaf with something like a modern bikini. They found them so shocking that for long periods the secret chamber was opened only to "mature persons of secure morals". Even after the doors were opened, only 20 visitors were to be admitted at a time, and children under 12 were not allowed into the new part of the museum without their parents' or a teacher's permission.
There are references to bikinis in ancient literature as well. Ovid, the writer ranked alongside Virgil and Horace as one of the three canonical poets of Latin literature, suggests the breastband or long strip of cloth wrapped around the breasts and tucked in the ends, is a good place to hide love-letters. Martial, a Latin poet from Hispania who published between AD 86 and 103, satirized a female athlete he named Philaenis, who played ball in a bikini-like garb quite bluntly, making her drink, gorge and vomit in abundance and hinting at her lesbianism. In an epigram on Chione, Martial strangely mentions a sex worker who went to the bathhouse in a bikini, while it was more natural to go unclothed. Reportedly Theodora, the 6th century empress of the Byzantine Empire wore a bikini when she appeared as an actress before she captured the heart of emperor Justinian I.

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The modern bikini has had a checkered history. The first domestic swimsuit for "decency" appeared in 1830. Featuring red and white horizontal stripes from ankle to wrist, it was nicknamed the "prison suit". In 1907, Australian swimmer and performer Annette Kellerman was arrested on a Boston beach for wearing a form-fitting one-piece although it became accepted swimsuit attire for women by 1910. Pictures of her were produced as evidence in the Esquire magazine versus United States Postmaster General legal battle over indecency in 1943. In 1913, inspired by the introduction of females into Olympic swimming, the designer Carl Jantzen made the first functional two-piece swimwear, a close-fitting one-piece with shorts on the bottom and short sleeves on top. Silent films such as The Water Nymph (1912) saw Mabel Normand in revealing attire, and the first annual bathing-suit day at New York's Madison Square Garden in 1916 was a landmark. The swimsuit apron, a design for early swimwear, disappeared by 1918, leaving a tunic covering the shorts. By the 1930s, necklines plunged at the back, sleeves disappeared and sides were cut away. Hollywood endorsed the new glamour with films such as Neptune's Daughter in which Esther Williams wore provocatively named costumes such as "Double Entendre" and "Honey Child". Williams also portrayed Kellerman in the 1952 film Million Dollar Mermaid (titled as The One Piece Bathing Suit in UK). American designer Adele Simpson, a Coty American Fashion Critics' Awards winner (1947) and a notable alumna of the New York art school Pratt Institute, who believed clothes must be comfortable and practical designed a large part of her wardrobe which included mostly one-piece suits that were considered fashionable even in early 1980s. This was when Cole of California started marketing revealing prohibition suits and Catalina Swimwear introduced almost bare-back designs. With new materials like lastex and nylon, by 1934 the swimsuit started hugging the body and had shoulder straps to lower for tanning. Burlesque and vaudeville performers wore two-piece outfits in the 1920s, films of holidaymakers in Germany in the 1930s show women wearing two-piece suits, and in 1932 French designer Madeleine Vionnet offered an exposed midriff in an evening gown. They were seen a year later in Gold Diggers of 1933. The Busby Berkeley film Footlight Parade of 1932 showcases aquachoreography that featured bikinis. Mack Sennett's Bathing Beauties series (1914–1919) and Dorothy Lamour's The Hurricane (1937) also showed two-piece bathing suits. In 1935 American designer Claire McCardell cut out the side panels of a maillot-style bathing suit, the bikini's forerunner. A woman's cotton sun-top of 1939, printed with palm trees, provides a good example here.