Young boy in pantalettes, 1836 Girl's costume showing linen pantalettes from Godey's Lady's Book 1855 Pantalettes are undergarments covering the legs worn by women, girls, and very young boys (before they were breeched) in the early- to mid-19th century. Pantalettes originated in France in the early 19th century, and quickly spread to Britain and America. Pantalettes were a form of leggings or long drawers. They could be one-piece or two separate garments, one for each leg, attached at the waist with buttons or laces.
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Pantalettes were essential under this new fashion for modesty's sake.
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The crotch was left open for hygiene reasons. They were most often of white linen fabric and could be decorated with tucks, lace, cutwork or broderie anglaise. Ankle- length pantalettes for women were worn under the crinoline and hoop skirt to ensure that the legs were modestly covered should they become exposed. Pantalettes for children and young girls were mid-calf to ankle-length and were intended to show under their shorter skirts.
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Women were given long dresses to wear in the summer. During the winter they made themselves a shawl and pantalettes. Women often wore turbans on the heads, covering their hair.
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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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424–25, HarperCollins, 1992. But dresses for boys did not disappear, and again became common from the 1820s, when they were worn at about knee-length, sometimes with visible pantaloons called pantalettes as underwear, a style also worn by little girls. As the next stage, from the mid-19th century boys usually progressed into shorts at breeching—again these are more accommodating to growth, and cheaper. The knickerbocker suit was also popular.
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On May 17, 1964, a monument in red granite was unveiled over the grave of Mother Featherlegs; Roadside America. it had been created as part of a reenactment of the 1864 stagecoach run between Cheyenne and Deadwood, and was built with donations from the citizens of Lusk. Russell Thorp, Jr., unveiled the stone, which read: > Here lies Mother Featherlegs. So called, as in her ruffled pantalettes she > looked like a feather-legged chicken in a high wind.
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Until the mid-19th century, very young boys were commonly dressed in dresses, gowns and pantalettes, though these were commonly associated with girls' clothing, until the boys were breeched at any age between 2 and 8 years of age,Baumgarten, Linda: What Clothes Reveal: The Language of Clothing in Colonial and Federal America, Yale University Press, 2002. . p. 166 and sometimes older. Young boys would be dressed in this fashion until at least they were toilet-trained.
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In the United Kingdom, Ireland and some Commonwealth nations, the term knickers is used for women's undergarments. Use of the term owes its origin to illustrator George Cruikshank, who did the illustrations for Washington Irving's droll History of New York when it was published in London. He showed the old-time Knickerbockers in their loose Dutch breeches, and by 1859, short loose ladies undergarments, a kind of abbreviated version of pantalettes or pantaloons, were knickers in England.
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Women's baggy underpants fastened to just below or above the knee are also known as "bloomers" (or as "knickers" or "directoire knickers"). They were most popular from the 1910s to the 1930s but continued to be worn by older women for several decades thereafter. Often the term bloomers has been used interchangeably with the pantalettes worn by women and girls in the mid-19th century and the open-leg knee-length drawers of the late 19th and early 20th centuries.
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The image of a Southern belle is often characterized by fashion elements such as a hoop skirt, a corset, pantalettes, a wide-brimmed straw hat, and gloves. As signs of tanning were considered working-class and unfashionable during this era, parasols and fans are also often represented. Southern belles were expected to marry respectable young men, and become ladies of society dedicated to the family and community. The Southern belle archetype is characterized by Southern hospitality, a cultivation of beauty, and a flirtatious yet chaste demeanor.
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It was he who did the Victorian Gothic in its > pantalettes, when a church building or something of the sort was on the > board. With precision, as though he held his elements by pincers, he worked > out the decorous sublimities of inanity, as per the English current > magazines and other English sources. He was a clean draftsman, and believed > implicitly that all that was good was English. Louis regarded him with > admiration as a draftsman, and with mild contempt as a man who kept his nose > in books.
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In a two-story home (the cross section design of the set allows the viewer to see both levels), a doctor is studying a caged monkey. When the doctor leaves for a moment, the monkey escapes from the cage and begins wreaking havoc on both floors. The monkey's tail detaches and takes on a life of its own, attaching itself to the doctor's nose. Both the doctor and a housekeeper run about attempting to restore order, but the monkey continues to overturn furniture, and tears off the housekeeper's skirt, leaving her in her pantalettes.
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It is suggested the expression came from the abonnés playfully patting the back of the tulle dress with the saying pan-pan cucul (French for I'll spank your bottom). A third, related theory suggests a derivation from the more vulgar French word, "cul" (which can be used to refer to the bottom or genital area). During this era, women (including dancers) wore pantalettes as underwear, which were open at the crotch. The abonnés favoured the very front rows in the hope of a scandalous view, and the skirt was modified for that reason.
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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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All titles credited to Andy Irvine, Dónal Lunny, Christy Moore and Liam O'Flynn; except where indicated. # "True Love Knows No Season" (song) - 5:29 (Norman Blake) # "Out On The Ocean / Tiocfaidh Tu Abhaile Liom" (double jigs) - 3:20 # "Roger O'Hehir" (song) - 5:33 # "The Tailor's Twist" (hornpipes) - 3:14 (Traditional; arranged by Liam O'Flynn) # "Kellswater" (song) - 4:59 # "Johnny of Brady's Lea" (song) - 6:31 # "The Woman I Never Forgot / The Pullet / The Ladies Pantalettes" (reels) - 4:19 # "Little Musgrave" (song) - 9:38 # "Paddy Fahy's Reel" (reel) - 1:48 (Played on flute by Matt Molloy, with keyboard accompaniment, as the album fades out).
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