The dresses were brilliantly designed by the costume people as Bo Peep crinolines on steroids.
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PARIS — Sing, muse, of crinolines piled in layers, of blunt-cut bobs and Cupid's bow lips?
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There are myriad to pick from: criticism of everything from cosmetics to crinolines to anything slightly revealing.
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Corsets shrank waists by up to two inches; crinolines and padding made full, calf-length skirts even more voluminous.
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A harrowing statistic: In London, 2,500 wearers of flammable crinolines met fiery deaths in the single year of 1864.
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Similarly, the 1917 "barrel" silhouette, advertised as lighter than crinolines, restricted the ankles, making it more difficult for women to move.
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In addition to film stock, this plastic was used in everyday products, such as collars, crinolines, shoe heels, billiard balls, and hair combs.
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Meanwhile, the voluminous crinolines that served as perfect hiding places for cigars and gin when dodging customs also proved a serious hazard to health and modesty.
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It's BUCKRAM — an N.B.A. Milwaukee BUCK and an N.F.L. L.A. RAM, combining to make a stiff cloth used in hats and crinolines, as well as books.
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"Then this person shows up in a blue polka-dot dress with a whole lot of crinolines and wacky hair and a box under her arm," Heiferman recalled.
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Zola, among others, lavished sensual descriptions upon the sounds made by clothing — the swish of a silk skirt, the fallen-leaves rustle of a woman's crinolines trailing across parquet.
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The gold ballgown she wears for her dance with the Beast was lifted out of time, with crinolines and neckline a century removed from the movie's vaguely rococo trappings.
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But close up, they were meticulously and gorgeously constructed; their rough-hewed, blunted exteriors encased in thoughtful and ergonomic scaffolding, buttresses of padded wiring, canvas boning, industrial-strength crinolines.
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But there's a loud contingent of operagoers who are scandalized if Violetta in "La Traviata" wears a red slip rather than crinolines, or if the "Ring" forgoes breastplates and spears.
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You need a tough woman for that sort of job, and Ms. Blunt, who moves easily out of crinolines and into combat gear, holds this material together with fierce, unwavering conviction.
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There has been, of course, a long history of body modification through dress — corsets have pulled the figure in to control the waist, and crinolines, panniers and bustles exaggerate and extend the body.
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From corsets, caged crinolines and whalebone stays to bras, briefs and padded boxer shorts, more than 250 objects, along with film images, packaging and advertisements, depict the history of underwear from the mid-18th century to the present.
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Still, the exhibition design affords the viewer a sense of surprise and delight — one must work hard to see all of the outfits, from tea-stained, gristly gowns worthy of Miss Havisham, to graphic, black-and-white cage crinolines, to a cascade of carnation-pink, latex ruffles.
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It was a moment of levity in a collection that was otherwise full of both peekaboo provocation and protective foreboding: sculptural chaps and shoulder armor atop frills and fishnets, crinolines and plastic flowers; insectoid hoods swallowing faces; netting poured over swathes of bubble wrap; chopped-up quilted patent panniers.
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With a sense of style that rivals Liberace's, Mr. Rieu brings a heavy dose of spectacle to his performances, with his female musicians dressed up in cakelike pastel crinolines, stage sets that include life-size ballrooms and ice rinks, thousands of balloons, and lighting effects that bring to mind magical sunsets.
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In her honor, rough-hewed tweeds fit for the moors were refashioned into ball gowns and — because this is Mr. Bovan, whose style tends toward the apocalyptic — exploded, buoyed by crinolines and tulle, and worn with paint-splattered furs meant to look like "roadkill on a remote country lane," as his notes cheerfully put it.
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And that was classic men's suiting and schoolboy uniforms cut out and jigsawed back together, so a jacket dropped to the hips and swaddled the legs to become a skirt, shirts stretched long to the knees under trousers sliced flat to extend a frock coat and cable sweaters ballooned into dresses over crinolines and under tennis cardigans.
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Not just at Chanel, where Mr. Lagerfeld flounced chiffon and crinolines and lacy white blouses, but also at Giambattista Valli, where ultra-minis had a cancan kick and an interesting partner in cotton shirting and shrunken knit vests (an opposites-attract approach that is new for Mr. Valli), and dresses floated flower-strewn to the floor.
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In the 1980s, when the radical policies of the '70s were replaced by Reaganomics and the conservatism of Margaret Thatcher in the U.K., we got Christian Lacroix's archaic follies of crinolines and corsets, and the anarchic vibrancy of a nightclub scene that gave birth to Leigh Bowery in London and, later, to New York's club kids.
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" The latter certainly proves true when reading a report from the New York Times in 1858 which lamented that "an average of three deaths per week from crinolines in conflagration ought to startle the most thoughtless of the privileged sex; and to make them, at least, extraordinarily careful in their movements and behavior, if it fails... to deter them from adopting a fashion so fraught with peril.
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Loschek, p.184 Crinolines were popular throughout the 1950s and into the early 1960s.
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Square dancer, 2006 Crinolines continue to be worn well into the 21st century, typically as part of formal outfits such as evening gowns, prom dresses, quinceañera dresses, and wedding dresses. 1950s and 1960s style net crinolines are a traditional element of costumes for square dancing and clogging. They are also popular garments for attending 1950s and 1960s influenced rockabilly events such as Viva Las Vegas. The steampunk movement has also appropriated cage crinolines along with other elements of 19th century fashion such as corsets and the top hat for its costuming.
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The 1850s are well known for the crinolines, which reached greatest popularity around 1860. The crinolines were made of whalebone and were covered with layers of flounced petticoats. The dresses were made of several materials such as brocade, taffeta, silk and velvet. There was a difference between dresses for the day and dresses for the evening.
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Evening gowns had low necklines and short sleeves, and were worn with short gloves or lace or crocheted fingerless mitts. The voluminous skirts were supported by hoops, petticoats, and or crinolines. The use of hoops was not as common until 1856, prior supporting the skirts with layers if starched petticoats. Bouffant gowns with large crinolines were probably reserved for special occasions.
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One of the mid-1880s styles was called the lobster pot due to its resemblance to a lobster trap. Due to the extreme weight of the fabrics of the decade, the hoops of the crinolines were crossed over each other behind the legs in order to support and hold the skirts firmly in place. As with the earlier cage crinolines, sprung steel, wire and cane were used.
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The song is about a musician disillusioned about marriage, whose heart is softened by a daughter dancing to his band at her parents' wedding reception whilst wearing crinolines and a calico skirt.
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As the fashion for crinolines wore on, their shape changed. Instead of the large bell-like silhouette previously in vogue, they began to flatten out at the front and sides, creating more fullness at the back of the skirts. One type of crinoline, the crinolette, created a shape very similar to the one produced by a bustle. Crinolettes were more restrictive than traditional crinolines, as the flat front and bulk created around the posterior made sitting down more difficult for the wearer.
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Corsets and Crinolines. By Norah Waugh. First edition 1954, page 67. Routledge 2015 Mémoires inédits de madame la comtesse de Genlis: pour servir à l'histoire des dix-huitième et dix- neuvième siècles, Volume 5.
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The crinoline was worn by some factory workers, leading to the textiles firm Courtaulds instructing female employees in 1860 to leave their hoops and crinolines at home.Corsets and Crinoline Cecil Willett Cunnington described seeing a photograph of female employees in the Bryant and May match factories wearing crinolines while at work.Cunnington, p.207 A report in The Cork Examiner of 2 June 1864 recorded the death of Ann Rollinson from injuries sustained after her crinoline was caught by a revolving machinery shaft in a mangling room at Firwood bleach works.
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One young lady looked back upon the practice with affection.Waugh, Norah. Corsets and Crinolines New York: Theater Arts Books, 1954, p. 141 Today, one might read these accounts with skepticism, but contemporary advertisements describe corsets as small as 15 inches.
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The steel-hooped cage crinoline, first patented in April 1856 by R.C. Milliet in Paris, and by their agent in Britain a few months later, became extremely popular. Steel cage crinolines were mass-produced in huge quantity, with factories across the Western world producing tens of thousands in a year. Alternative materials, such as whalebone, cane, gutta-percha and even inflatable caoutchouc (natural rubber) were all used for hoops, although steel was the most popular. At its widest point, the crinoline could reach a circumference of up to six yards, although by the late 1860s, crinolines were beginning to reduce in size.
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Fashions of the 1860s include square paisley shawls folded on the diagonal and full skirts held out by crinolines. Auguste Toulmouche's Reluctant Bride of 1866 wears white satin, and her friend tries on her bridal wreath of orange blossoms. 1860s fashion in European and European-influenced clothing is characterized by extremely full-skirted women's fashions relying on crinolines and hoops and the emergence of "alternative fashions" under the influence of the Artistic Dress movement. In men's fashion, the three-piece ditto suit of sack coat, waistcoat, and trousers in the same fabric emerged as a novelty.
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The linen pantalettes worn by girls and women under crinolines in the mid-19th century were also a form of leggings, and were originally two separate garments. Leggings became a part of fashion in the 1960s, as trousers similar to capri pants but tighter.
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Saloon girls wore short red dresses with corsets, garter belts and stockings.Waugh, Norah (December 1, 1990). Corsets and Crinolines. Routledge. . After World War II, many women, returning to the home after working in the fields or factories while the men were overseas, began to wear jeans like the men.
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Both black and white women in America of all classes and social standings wore hooped skirts, including First Lady Mary Todd Lincoln and her African-American dressmaker, Elizabeth Keckley, who created many of Mrs. Lincoln's own extravagant crinolines. The difficulties associated with the garment, such as its size, the problems and hazards associated with wearing and moving about in it, and the fact that it was worn so widely by women of all social classes, were frequently exaggerated and parodied in satirical articles and illustrations such as those in Punch. Alexander Maxwell has summarised crinoline mockery as expressing the male authors' insecurity and fears that women, whose crinolines took up "enough space for five," would eventually "conquer" mankind.
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Flounced dresses went out of fashion soon and women began to wear skirts over the crinoline frames. But not only the fabric changed, the colour did, too. There were used warmer tones like brown and dark red. In the late 1860s, the crinolines disappeared and the bustles came into fashion in the 1870s.
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Demorest harbored lifelong political and religious aspirations. He is widely known for being a Prohibition activist and ran for Mayor of New York City on the Prohibition ticket. He also organized the Anti- Nuisance League.Ishbel Ross (1895-1975), Crusades and Crinolines: The Life and Times of Ellen Curtis Demorest and William Jennings Demorest, Harper & Row, New York (1963).
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By the early 1870s, the smaller crinolette and the bustle had largely replaced the crinoline. Crinolines were worn by women of every social standing and class across the Western world, from royalty to factory workers. This led to widespread media scrutiny and criticism, particularly in satirical magazines such as Punch. They were also hazardous if worn without due care.
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The Lady's Newspaper, 1863, cited by Johnston Comic photograph, c.1860 Despite some claims, such as that by the historian Max von Boehm, that the largest crinolines measured up to ten yards (30 feet) around, the photohistorian Alison Gernsheim concluded that the maximum realistic circumference was in fact between five-and-a-half and six yards.
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Loschek, p.80Bancroft, pp.48–51 The images from this shoot were declared among the most significant commercial images of 1998, representing Knight and McQueen's dedication to presenting alternatives to the traditional concepts of fashion and physical beauty. After McQueen's death in 2010, his successor, Sarah Burton, continued the tradition of designing crinolines for the McQueen brand.
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Fashion in the 1850s through 1880s accented large crinolines, cumbersome bustles and padded busts with tiny waists laced into ‘steam-moulded corsetry’.Dress and Morality by Aileen Ribeiro, (Homes and Meier Publishers Inc: New York. 1986) p. 134 ‘Tight-lacing’ became part of the corset controversy: dress reformists claimed that the corset was prompted by vanity and foolishness, and harmful to health.
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The crinoline was not the first garment designed to support the wearer's skirts in a fashionable shape. Whilst the bell-shaped skirts seen on statuettes from the ancient Minoan civilization are often compared to crinolines, particularly under the assumption that hoops were required to retain their shape, there is no evidence to confirm this and the theory is usually dismissed.Glotz, p.75Wace, p.
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They were soon imitated around the world.Milza, Pierre, Napoleon III, p. 486 The new stores pioneered new methods of marketing, from holding annual sales to giving bouquets of violets to customers or boxes of chocolates to those who spent more than 25 francs. They offered a wide variety of products and prices; Bon Marché offered fifty-four kinds of crinolines, and thirty different kinds of silk.
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' Following its introduction, the women's rights advocate Amelia Bloomer felt that her concerns about the hampering nature of multiple petticoats had been resolved, and dropped dress reform as an issue.D'Alleva, p.243 Diana de Marly, in her biography of the couturier Charles Frederick Worth noted that by 1858 there existed steel factories catering solely to crinoline manufacturers, and shops that sold nothing else but crinolines.
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These youths were called Teddy boys. For a night out dancing at the palais, their girlfriends would usually wear the same sort of poodle skirts and crinolines their counterparts in America would wear. For day-to-day wear there was a trend toward girls wearing slacks or jeans. At the time, the idea of girls wearing trousers and boys taking time over their hairstyles was socially shocking to many people.
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Brown's principal influence was Jan van Eyck's painting the Arnolfini Marriage Portrait, recently acquired by the National Gallery. The mirror resembles the circular mirror in van Eyck's painting, which reflects an image of the artist looking at the couple in the image. The woman is wearing crinolines, which expand to cover the whole of the lower part of the painting. Brown has left this part incomplete, roughly squaring up and sketching the dress in outline.
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They lived in the cottage near the entrance to the works, and there Mr. Nicholson, sometimes accompanied by his son, had their breakfast while the work was being arranged for. Sometime later fashion creed that ladies should wear distended skirts. Crinolines were all the rage. Mr. Fox, prompt to appreciate the opportunity, at once brought out a special steel-by this time he had begun to make his own- which had a great run.
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As described in a film magazine, Colonel Charles E. Cavanaugh (Gillingwater) lives in a secluded district of North Carolina with his orphaned granddaughter Emmy Lou (Dana). He has raised her in utter ignorance of life beyond this one spot and she still wears crinolines. The old home of the Cavanaughs is now in the hands of the Colonel's niece, Mrs. Kate Wimbleton, a middle-aged society woman who likes to surround herself with young people.
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Other materials used for crinolines included whalebone, gutta-percha and vulcanised caoutchouc (natural rubber).Crinoline and Whales, Dublin University Magazine, pp.537–538 The idea of inflatable hoops was short-lived as they were easily punctured, prone to collapse, and due to the use of brimstone in the manufacture of rubber, they smelled unpleasant. Although hard rubber hoops of gutta-percha worked satisfactorily at first, they were brittle and easily crushed without recovering their form.
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1859 fashion plate of both men's and women's daywear, with seabathing in background. He wears the new leisure fashion, the sack coat. 1850s fashion in Western and Western-influenced clothing is characterized by an increase in the width of women's skirts supported by crinolines or hoops, the mass production of sewing machines, and the beginnings of dress reform. Masculine styles began to originate more in London, while female fashions originated almost exclusively in Paris.
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Milza, Pierre, Napoleon III, p. 486 The new stores pioneered new methods of marketing, from holding annual sales to giving bouquets of violets to customers or boxes of chocolates to those who spent more than 25 francs. They offered a wide variety of products and prices: Bon Marché offered 54 kinds of crinolines, and 30 different kinds of silk. The Grand Magasin du Louvre sold shawls ranging in price from 30 francs to 600 francs.
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21 It followed the profile of the Belpaire firebox and extended to a curved profile forward of the smokebox front. Spun glass mattresses were used for boiler lagging. The smokebox was a sheet metal fabrication to the same profile as the firebox, acting as a former to maintain the shape of the air-smoothed casing. In between, the casing was supported by channel-section steel crinolines (strengtheners used to maintain the shape) attached to the frames.
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Ewing, p.55-56."'The crinoline projected hideously at the side, whereas the crinolette will only stick out at the back', commented The World in July 1881" It is possible that some of the smaller crinolines that survive were worn in combination with separate bustles, rather than in isolation.Koda, pp.130–133. During the 1880s the cage crinoline was revived, with hoop petticoats designed to accommodate the extremely large bustles of the period and support the skirt hems.
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Crane, p.57. One, the fashion-conscious wife of a glove-maker, owned two crinolines and eleven dresses, although her usual everyday clothing consisted of wooden shoes and printed aprons. In America, the mid-19th century crinoline has become popularly associated with the image of the Southern Belle, a young woman from the American Deep South's upper socioeconomic, slave-owning planter classes. However, as in Europe and elsewhere, the crinoline was far from exclusively worn by wealthy white women.
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Cumming, p. 176Glynn, p. 117: "Albert, Duke of York [...] indicated to Hartnell that a return to the crinoline dresses shown in the Winterhalter portraits at the Palace would be in order..." Both as Queen, and as the Queen Mother, Elizabeth adopted the traditional bell-shaped crinoline as her signature look for evening wear and state occasions. The film Gone With The Wind, released in 1939, inspired the American fashion for prom dresses with crinolines in Spring 1940.
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As a bullocky, Buntine was described as a "steam boiler on horseback" and according to The Herald she had "strong, heavy-set, almost masculine features, her clear, intense eyes being her most marked attribute". During her journeys she wore thick clothing, boots, and a hat, in contrast to most women at the time, who typically wore "crinolines, bonnets, and shawls". Buntine also had two pistols contained in her belt and according to a man who knew Buntine, she smoked an "old black pipe".
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Evans, in Breward, Ehrman & Evans, p.149 The Westwood mini-crini was described in 1989 as a combination of two conflicting ideals – the crinoline, representing a "mythology of restriction and encumbrance," and the miniskirt, representing an "mythology of liberation."Evans & Thornton, p.148-150 Late 20th and early 21st-century fashion designers such as Alexander McQueen and John Galliano often used crinolines in their designs, with the skirt of one of Galliano's ballgowns for Dior in 1998 reaching a width of 9 feet.
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The reason for the proposed ban was linked to the SAE racism incident earlier that year, with several articles noting it was a well-intentioned attempt to avoid the University of Georgia fraternities facing charges of racial insensitivity. It was noted that hoop skirts and crinolines had been worn by both black and white women of all classes and social standings during the historical period in question, and that despite popular associations, they were not exclusive to the image of the Southern Belle.
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In the decision of the Alberta Court of Appeal, Justice John McClung commented that "it must be pointed out that the complainant did not present herself to Ewanchuk or enter his trailer in a bonnet and crinolines" and that Ewanchuk's conduct was "less criminal than hormonal". The issue before the Supreme Court was "whether the trial judge erred in his understanding of consent in sexual assault and whether his conclusion that the defence of 'implied consent' exists in Canadian law was correct".
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Routledge, p.127 As the girls knelt to scrub the doorsteps, Routledge described how their hoops rose to expose their lower bodies, inspiring street harassment from errand boys and other male passers-by. Routledge firmly opined that servants ought to save their fashionable garments for their leisure periods, and dress appropriately for their work. However, this was challenged by some servants who saw attempts to control their dress as equivalent to controlling their liberty, and refused to work for employers who tried to forbid crinolines.
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Victorian women's clothing followed trends that emphasised elaborate dresses, skirts with wide volume created by the use of layered material such as crinolines, hoop skirt frames, and heavy fabrics. Because of the impracticality and health impact of the era's fashions, a reform movement began among women. The ideal silhouette of the time demanded a narrow waist, which was accomplished by constricting the abdomen with a laced corset. While the silhouette was striking, and the dresses themselves were often exquisitely detailed creations, the fashions were cumbersome.
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For the most part, the artist chose the early Victorian fashions—men in peg-top plaid trousers; women in crinolines, angel sleeves, lockets, and hair-nets; little girls in pig-tails and pantalettes. Here were delectable and varied decorations breathing a sort of innocent drollery, what M. de Monvel called "a precious quality of naivete". Her illustrations for Max Müller's "Memories," were stamped with unusual breadth and proportion. Not unnaturally, Ostertag was associated with some of the leading Western architects; with Frank Lloyd Wright, for instance, in a characteristic residence at Buena Park.
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Thousands of women died in the mid-19th century as a result of their hooped skirts catching fire. Alongside fire, other hazards included the hoops being caught in machinery, carriage wheels, gusts of wind, or other obstacles. The crinoline silhouette was revived several times in the 20th century, particularly in the late 1940s as a result of Christian Dior's "New Look" of 1947. The flounced nylon and net petticoats worn in the 1950s and 1960s to poof out skirts also became known as crinolines even when there were no hoops in their construction.
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Gernsheim, p.46 In 1859 the New York factory, which employed about a thousand girls, used 300,000 yards of steel wire every week to produce between three and four thousand crinolines per day, while the rival Douglas & Sherwood factory in Manhattan used a ton of steel each week in manufacturing hoop skirts.Wosk, p.45. John Leech for Punch's Pocket Book The crinoline needed to be rigid enough to support the skirts in their accustomed shape, but also flexible enough to be temporarily pressed out of shape and spring back afterwards.
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The first fashion show took place in the city, it was the work of Evdokia Antonova, daughter of Anton Zarkov Zlatev, a well- known merchant of fabrics, money-lender and chiflikchia. In the streets, under lit streetlights, on aristocratic streets, citizens with rags and bombs and their wives with long dresses, crinolines, ruffles – wavy / corrugated / ornaments as well as wide, rich Buffon decorations were increasingly visible. Turnovo tailors in the beginning of the XX century, were known all over Northern Bulgaria. They were well aware of the tailoring in Italy and France.
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In spite of paternal opposition, a few years later Maclet gave up gardening for art and moved to Montmartre, where while painting he supported himself with a variety of casual work (varnishing iron bedsteads, decorating the floats for the gala nights at the Moulin Rouge, washed dishes or opening oysters in restaurants). For several months he served as a cook on board a ship sailing from Marseilles to Indochina. When he finally returned to Paris, he painted dolls in crinolines and exhibited them at the Salon des Humoristes. But in spite of all these occupations, he found time to paint.
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Gernsheim, p.47 Whilst a loosely gathered skirt draped over a large hoop would certainly require a higher yardage, Gernsheim noted that ten yard hems were highly improbable.Gernsheim, p.48 Staged photographs showing women wearing exaggeratedly large crinolines were quite popular, such as a widely published sequence of five stereoscope views showing a woman dressing with the assistance of several maids who require long poles to lift her dress over her head and other ingenious means of navigating her enormous hoopskirt.Ginsburg, p.45 Such photographs, which re-enacted contemporary caricatures rather than accurately reflecting reality, were aimed towards the voyeur's market.
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The crinoline began to fall out of fashion from about 1866. A modified version, the crinolette, was a transitional garment bridging the gap between the cage crinoline and the bustle. Fashionable from 1867 through to the mid-1870s, the crinolette was typically composed of half-hoops, sometimes with internal lacing or ties designed to allow adjustment of fullness and shape.Johnston; Crinolines, Crinolettes, Bustles and Corsets The crinolette was still worn in the early 1880s, with an 1881 article describing it as sticking out solely behind, as opposed to projecting "hideously at the side" like the crinoline.
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Sara Forbes Bonetta by Camille Silvy, 1862 Arthur Munby observed that in the "barbarous locality" of Wigan, the sight of a female colliery worker wearing trousers was "not half as odd as a woman wearing a crinoline," exposing his own upper-class attitudes. In Australia, poorer rural women were photographed posing outside their slab huts, wearing their best dresses with crinolines.Maynard, p.111 The French sociologist and economist Frédéric le Play carried out surveys of French working-class families' wardrobes from 1850–75, in which he found that two women had crinolines in their wardrobe, both wives of skilled workers.
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The Rational Dress Society was an organisation founded in 1881 in London. It described its purpose thus: > The Rational Dress Society protests against the introduction of any fashion > in dress that either deforms the figure, impedes the movements of the body, > or in any way tends to injure the health. It protests against the wearing of > tightly-fitting corsets; of high-heeled shoes; of heavily-weighted skirts, > as rendering healthy exercise almost impossible; and of all tie down cloaks > or other garments impeding on the movements of the arms. It protests against > crinolines or crinolettes of any kind as ugly and deforming….
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Tempest's collection for autumn/winter 2010, "Under the Abaya", inspired by Islamic architecture and the legend of the Queen of Sheba's journey to Israel, was shown at London Fashion Week in February 2010.William Tempest, Autumn/Winter 10/11 at Vogue.com, 23 February 2010 Tempest's collection for autumn/winter 2011/12, "Dia Anna" was inspired by witchcraft, the occult, and the macabre in the Middle Ages and featured sculptural coats, crinolines and washed silk dresses in cherry, blood red, nudes, and black. The collection was showcased in a fashion film made in collaboration with Harper's Bazaar and model Amber Le Bon.
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Launched into the spotlight as the Empress Eugénie's primary designer, Worth used his royal connections to gain recognition and clients. The proclamation on February 1, 1853 by Napoleon III that no visitors would be received to his court without formal dress meant that the popularity of Worth- style gowns became overwhelming. Ornately decorated and constructed from the finest materials, Worth's gowns are well known for their crinolines (cage-like metal structures that held the dress out in a stylish shape). Throughout the early decades of the 20th century, high fashion originated in Paris and, to a lesser extent, London.
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Some historians have raised doubts about the size of these garment, which some contemporaries claimed could be as wide as 1.4 metres. Instead they claim that the seemingly enormous size of these garments was an optical illusion created by wearing it with a pair of bodies (corset) that elongated and streamlined the torso. Criticisms of farthingales are also indicative of spatial anxieties relating to fears about these garments creating intimate personal spaces around the female body, masking the appropriation of social status, and physically displacing men. These fears continued into the eighteenth and nineteenth century, where tropes about the size of hoop petticoats (panniers) and crinolines continued.
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It said: > The Rational Dress Society protests... against crinolines or crinolettes of > any kind as ugly and deforming... [It] requires all to be dressed healthily, > comfortably, and beautifully, to seek what conduces to birth, comfort and > beauty in our dress as a duty to ourselves and each other. Both Hoopdriver and the Young Lady in Grey, as he refers to her, are escaping social restraints through bicycle touring. Hoopdriver falls in love and rescues her from a lover who says marrying him is the only way that she, having left alone for a cycling holiday, can save her reputation. She lowers her social status; he raises his.
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Mainbocher's innovations include short evening dresses; beaded evening sweaters; the strapless evening gown; bare-armed blouses for suits; costume- dyed furs (black mink and black sealskin); novel uses for batiste, voile, organdy, piqué, linen, and embroidered muslin; the waistcinch; man-tailored dinner suits; bows instead of hats; the principle of the simple dress with many tie-ons (shirt-like aprons, changeable jackets); the sari evening dress; the "bump" shoulder (a sort of modified leg-o'-mutton sleeve) on suits and coats; the evening version of the "tennis dress," a white evening dress with "V" neck and stole; the revival of crinolines; and the rain suit.
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Early in July 1862, the steamer proceeded to Boston, Massachusetts where she arrived on 10 July for repairs. When ready again for sea, Albatross, commanded by Commander Henry French since 1 August, was reassigned to the West Gulf Blockading Squadron. She stood out to sea on the evening of 7 August and, after reporting to Rear Admiral David Farragut, was stationed off the mouth of the Rio Grande near Brownsville, Texas. There, on 21 September, she captured the schooner Two Sisters of Galveston, Texas, flying the Confederate flag as she was sailing from Sisal, Mexico, toward Galveston with 87 bales of gunny cloth for Southern cotton gins and one case of crinolines, probably intended for a less utilitarian purpose.
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Ellen Louise Demorest (née Curtis) was born November 15, 1824, at old Saratoga, otherwise known as Schuylerville, New York. She was the second of eight children (6 girls 2 boys) born to Henry D. Curtis and Electa Curtis, née Abel. She was known from girlhood as Nell.Ishbel Ross (1895-1975), Crusades and Crinolines: The Life and Times of Ellen Curtis Demorest and William Jennings Demorest, Harper & Row, New York (1963). One of her father's eighteen siblings -- Charity -- (1834–1919, married to Jeremiah Shonts) was the maternal grandmother of Charles B.J. Snyder, a renowned American architect who served as Superintendent of School Buildings for the New York City Board of Education from 1891 to 1923.
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At the electoral reforms regarding the right to vote of 1862, she supported the idea to give women the right to vote, which was talked about as the "horrific sight" of seeing "crinolines at the election boxes", but Bremer gave the idea her support, and the same year, women of legal majority were granted suffrage in municipal elections in Sweden. The first real Women's rights movement in Sweden, the Fredrika Bremer Association (Fredrika Bremer Förbundet), founded by Sophie Adlersparre in 1884, was named after her. Bremer was happy to mention and to recommend the work of other female professionals. She mentioned both the doctor Lovisa Årberg and the engraver Sofia Ahlbom in her work.
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In early 19th-century Europe, when military clothing was often used as inspiration for fashionable ladies' garments, the term was applied to a woman's long, fitted coat with set-in sleeves and the then-fashionable Empire waist. Although initially these Regency-era pelisses copied the Hussars' fur and braid, they soon lost these initial associations, and in fact were often made entirely of silk and without fur at all. They did, however, tend to retain traces of their military inspiration with frog fastenings and braid trim. Pelisses lost even this superficial resemblance to their origins as skirts and sleeves widened in the 1830s, and the increasingly enormous crinolines of the 1840s and '50s caused fashionable women to turn to loose mantles, cloaks, and shawls instead.
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Dress code is more relaxed in the UK than in North America, and to some extent than in Northern Europe. Square dance attire for men includes long-sleeved western and western-style shirts, dress slacks, scarf or string ties (bolos) or kerchiefs, metal tips on shirt collars and boot tips, and sometimes cowboy hats and boots. It is very unusual to see hats and cowboy boots at dances in the UK. Traditional square dance attire for women include gingham or polka-spotted dresses with wide skirts or a wide gingham or patterned skirt in a strong dark color with a white puff-sleeve blouse. Often dancers wear specially-made square dance outfits, with multiple layers of crinolines, petticoats, or pettipants.
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As a bass-baritone, Schweizer performed with regional opera companies across the country, in solo recital, and in oratorio including appearing as the bass soloist with Robert Shaw and the Atlanta Symphony in Beethoven's Ninth Symphony. Schweizer was the president and editor of St. James Music Press in Tryon, North Carolina. He was also the author of the St. Germaine mystery series: The Alto Wore Tweed, The Baritone Wore Chiffon, The Tenor Wore Tapshoes, The Soprano Wore Falsettos, The Bass Wore Scales, The Mezzo Wore Mink, The Diva Wore Diamonds, The Organist Wore Pumps, The Countertenor Wore Garlic, "The Treble Wore Trouble", "The Christmas Cantata", and "The Cantor Wore Crinolines", “The Maestro Wore Mohair”, “The Lyric Wore Lycra” and “The Choir Director Wore Out”. Schweizer was active as a composer, arranger, editor, and librettist.
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The painting is patterned after William Holman Hunt's A Converted British Family sheltering a Christian Missionary from the persecution of the Druids, and combines caricatures of many of the main figures of the movement, including John Ruskin and Sir John Everett Millais, with figures of popular culture like P. T. Barnum, and allusions to the great artists of the past. It depicts Millais in the role of Paris, offering the golden apple to a scrawny-looking medieval woman, ignoring a Raphael madonna (copied from The Marriage of the Virgin) and a modern woman in crinolines. The painting also includes parodies of other Pre-Raphaelite works, including Millais' Sir Isumbras at the Ford, Spring: Apple Blossoms and The Vale of Rest. It also caricatures Calderon's Broken Vows and Windus's Burd Helen.
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The master of all kinds of techniques that had previously been known only to haute couture, he experimented with many new and underused materials, such as spandex and viscose. The finish, simplicity, and sheer sexiness of Alaia's look made women of every generation identify with his seductive style, and during the 1980s he achieved a certain glory and was held in high regard by members of his own profession. Also creating designs very typical of the era were Claude Montana, whose imposing, broad-shouldered designs, often made of leather, would not have looked out of place in the futuristic universe of Thierry Mugler, and Christian Lacroix, who sent shock waves through the world of haute couture, with his flounced skirts, embroidered corselets, bustles, and polka-dotted crinolines which evoked the rhythms of flamenco.
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Chicago Tribune declared that many Paris dressmakers were considering a fashion revolution to bring dress into line with the new period-piece hats; it was being whispered, said the paper's Paris correspondent Bettina Bedwell, that bustles and crinolines might be revived. By August of that year, it was reported that a new era of prosperity might be at hand for the garment industry. "Hat and women's wear manufacturers predicted today it would alleviate for a time at least, economic depression in their industries". It was suggested that, for the first time in history, fashion designers were following the lead of milliners who had: "made women wear the hats in defiance of the styles in frocks, with the result that the couturiers have had to fall quickly in line and rush through styles to go with the hats".
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Court dress with exaggerated side-hoops, dating from the 1760s Fashion (and wealth) continued to dictate what was worn on these occasions; but in the late eighteenth century, a degree of fossilisation began to set in, with the result that women in attendance at royal courts were still, in the early nineteenth century, to be seen in garments with side-hoops, redolent of forms of dress fashionable in the mid-1700s. In the 1820s, however, George IV made known his opinion that obsolete side-hooped dresses should no longer be worn; and thereafter fashion began to have more of an impact on the style of dress worn by women at court. Hayashi, wife of Japan's resident minister to the UK, in 1902. Courtly garments, then, can be seen reflecting something of the contemporary fashions of high society, from the expansive skirts and crinolines of the 1850-60s, through the posterior bustles of the 1870s & 80s, right through to the straight gowns of the 1920s.
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Plunkett's "barbecue dress" for Vivien Leigh as Scarlett O'Hara was the most widely copied dress after the Duchess of Windsor's wedding costume, and Vogue credited the "Scarlett O'Hara" look with bringing full skirts worn over crinolines back into wedding fashion after a decade of sleek, figure-hugging styles. Lana Turner's 1937 film They Won't Forget made her the first Sweater girl, an informal look for young women relying on large breasts pushed up and out by bras, which continued to be influential into the 1950s, and was arguably the first major style of youth fashion. Travis Banton gained his fame by, after working at a couture house in New York, designing costumes for Marlene Dietrich as a head designer of Paramount. His style was softer and more alluring than Adrian's, embodying femininity by his sense of balance with the use of Vionnet's bias-cut, and was known for refined concepts of simple lines and classic styles.
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In this period, fashionable women's clothing styles were based on the Empire silhouette — dresses were closely fitted to the torso just under the bust, falling loosely below. In different contexts, such styles are commonly called "Directoire style" (referring to the Directory government of France during the second half of the 1790s), "Empire style" (referring to Napoleon's 1804–1814/1815 empire, and often also to his 1800–1804 "consulate"), or "Regency" (loosely used to refer to various periods between the 18th century and the Victorian). These 1795–1820 fashions were quite different from the styles prevalent during most of the 18th century and the rest of the 19th century when women's clothes were generally tight against the torso from the natural waist upwards, and heavily full-skirted below (often inflated by means of hoop skirts, crinolines, panniers, bustles, etc.). Women's fashion around this time started to follow classical ideals, inspired by the ancient Greek and Roman style with its gracious, loosely falling dresses that were gathered or just accentuated over the natural waist under the bust.
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