Crinoline under a poofy skirt created more volume than her chair could accommodate, so the costume designer Terese Wadden crafted a version for her with crinoline only on her lap, and not at her hips.
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And I don't do it in pearls and a crinoline skirt.
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Crinoline-pouffed prom dresses turned out to be false fronts hiding jeans.
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She and her mom started by buying 13 yards of fabric, crinoline, boning, and Swarovski crystals.
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There was a lot of shoulder action: asymmetric dresses and jackets sprouting crinoline rosettes on one side.
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For dessert, there will be a coffee-infused Frangelico crème brûlée, with gold dusting and crinoline chocolate swirl.
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I chose (clockwise from top left) Chanel, Yves Saint Laurent, Thierry Mugler and a Charles Frederick Worth crinoline.
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Typically, most brides will ask their friends to come into the bathroom to hold up their dress because they have so much crinoline.
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It was a skirt of crinoline, like a giant floral handkerchief fastened with a gold belt and daringly mismatched with a denim shirt.
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The royal court's social calendar demanded clothes possessing 19th-century levels of grandeur: Vast crinoline gowns were prerequisites for debutante and ambassadorial balls.
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At a sewing machine, Lord Klot, 53, was sewing together 100-yard spools of crinoline and satin ribbon, a process known as rowing.
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In "Geyser Gowns" (2016), three women have been lifted into the air on whitish-blue, scumbled forms that swell like hoop skirts or crinoline.
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SEATTLE — Part of Jillian Boshart's life plays out in tidy, ordered lines of JavaScript computer code, and part in a flamboyant whirl of corsets and crinoline.
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The first notable fashion moment came from Blanchett, who wore a bustier-style Giorgio Armani Privé gown with crinoline lace and crystal-embroidered tulle that probably looks familiar.
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Blue and white crinoline bounced from shoulders and waists, a lime green hat twinkled with rhinestones, and a hoop skirt lifted a train of binder-clipped Bubble Wrap.
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Quickly rebaptized as a "war crinoline," it was pushed aggressively as allowing greater ease of movement even though it actually was heavier and more cumbersome than earlier styles.
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For the intimate ceremony, the bride wore a stunning custom Armani Privé white crinoline lace bustier column gown that featured a full skirt that extended into a lace train.
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Hathaway chose the backless silk cady gown — from the designer's 2006 Spring collection — that features embroidered pleated tulle and crinoline fan detailing on the one-shoulder top and skirt.
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She's a larger-than-life fertility figure, a pantomime dame (drag character) whose crinoline hides multiple children — they dance their way out from under it and then back in.
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The bride, 29, wore a custom Armani Privé white crinoline lace bustier column gown for her intimate ceremony that featured a a full skirt that extended into a lace train.
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The clothing here is amazingly inventive: women's shirts with enormously puffy sleeves, crinoline skirts made with striking orange and brown Kente cloth patterns, even a cummerbund of similarly colorful fabric.
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What, for instance, are we to make of the store, where Sheila is served by Miss Luckmoore (Fatma Mohamed), a magnificent saleswoman in funereal crinoline, whose scarlet nails match her lips?
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With a tucked Basque waist, and a spray of flowers descending diagonally across its wide crinoline skirt, the long peach-colored dress is perfect for a girl feeling the first blush of womanhood.
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There are far too few anecdotes amid the bolts of tulle, satin and crinoline that drape page after page, forcing Klein to rely on her formidable fashion knowledge to pave over the narrative.
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In a giant, face-framing flower and deconstructed Betty Boop sweater; with a little lilac leopard-print riding hood and sequined slip dresses carried along on the cruise ship of a raspberry crinoline.
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"The inspiration for the shape originally came from the crinoline, which is often found underneath couture gowns, but the real starting point for the overall look was the color," Roseberry said in a release.
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I was too young to wonder what it must have felt like to wear one of those crinoline-heavy dresses in the Florida heat, even as my own sweat-soaked hair stuck to my head.
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Or whatever days "Sabrina" is set in: The show has a '50s retro aesthetic, from the cars to the crinoline, but modern sensibilities about feminism, gender expression and the costs of serving as Satan's handmaid.
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We hike up our crinoline, shake back our curls, and we walk into that voting booth, pull the curtain, and touch the face of Susan, Elizabeth, Isabella, Naomi, and the rest – mothers, grandmothers, great-grandmothers.
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Inside, a white pillow inflates explosively — in milliseconds — to nestle the driver, while an air-filled crinoline curtain explodes from the roof edge, to envelop the scene, not for modesty but to save us from ourselves.
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It was a volte-face to the excess of the early '80s, the dancing-on-the-lip-of-the-volcano styles of Christian Lacroix and his archaic indulgences of crinoline pouf skirts and Second Empire extremes.
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As they pursue each other, Luiza Yuk, wearing a black cocktail dress with a red crinoline, and Vinícius Vieira, in a thick coat — confusing choices, for sure — twitch and shudder as their senses, conceivably, show them the way.
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"The inspiration for the shape originally came from the crinoline, which is often found underneath couture gowns, but the real starting point for the overall look was the color," Schiaparelli's creative director, Daniel Roseberry, said in a statement.
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And La Garςonne will unveil a retrospective of Yohji Yamamoto runway looks, including a houndstooth crinoline dress from fall 2003 and a printed cape from the current spring collection, that highlight the iconic designer's focus on androgyny and deconstruction.
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The Shadows spun her slowly around as she spoke, and the wings, which are built from layers of tattered linen and crinoline on an articulated wood-and-carbon-fibre frame, swirled around her like the skirts of a ball gown.
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The décor, by Ms. Lang, is an array of two-dimensional rectangles and frames: One of them, containing a square aperture, is awkwardly tilted by male dancers until Gillian Murphy, the leading dancer, stands within it, as if wearing an odd crinoline.
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The secret to Zendaya's brilliant quick-change is actually part of the gown's design: "Because of the dress's crinoline structure, she was able to tuck up the second tier, making it short and ready for dancing without making any permanent alterations," a Marchesa representative told Refinery29.
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The advertisement showcases a debutante-like woman, with her pearls and crinoline-lined dress, talking about the huge poop she just did and the quandary over what to do about the smell that lingers after you have a massive bowel movement at work or at your boyfriend's house.
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The thirty-four-year-old movie star was in white pajamas; the Angel, played by the British actress Amanda Lawrence, wore a Phyllis Diller wig, a skirt fashioned from a frayed American flag, and eight-foot-long wings made of crinoline and linen, as grimy and tattered as a New York City pigeon's.
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Thom Browne designed a collection inspired by 18th-century French gardens as only he could: Seersucker blazers and ties were paired with short crinoline cages; skirts swung from the hips, suspended from tricolor ribbons; robes à la polonaise appeared to be made from piles of other garments, or completely trompe l'oeil; veils covered Marie Antoinette worthy-wigs.
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Some of it was wearable (pristine white shirts wrapped like a warm-up sweater, with a dark ribbon at the waist and ribs; pleated schoolgirl skirts and exacting navy coats), and some of it less so (a nude suede dress with draped spaghetti-strap bodice, the skirt sliced into studded ribbons to play with, and expose, the legs; a crinoline tutu).
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Waugh, p.181 By 1847, crinoline fabric was being used as a stiffening for skirt linings, although English women preferred separate crinoline fabric petticoats which were beginning to collapse under the increasing weight of the skirts.Cunnington, p.145 One alternative to horsehair crinoline was the quilted petticoat stuffed with down or feathers, such as that reportedly worn in 1842 by Lady Aylesbury.
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165–169 The artificial crinoline with hoops did not emerge until the 1850s.
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In the mid-1980s Vivienne Westwood designed the mini-crini, a mini-length crinoline which was highly influential on 1980s fashion. Late 20th and early 21st century designers such as John Galliano and Alexander McQueen have become famous for their updated crinoline designs. Since the 1980s and well into the 21st century the crinoline has remained a popular option for formal evening dresses, wedding dresses, and ball gowns.
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War crinoline, 1916 During World War I the "war crinoline" became fashionable from 1915–1917.Waloschek, Morris & Seeling, p.60. "In 1915 [...] the war crinoline was introduded [...] two years later it vanished." This style featured wide, full mid-calf length skirts, and was described as practical (for enabling freedom of walking and movement) and patriotic, as the sight of attractively dressed women was expected to cheer up soldiers on leave.
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Caricature showing a lady scolding her maid for wearing a crinoline. Punch, 1862 Unlike the farthingales and panniers, the crinoline was worn by women of every social class; and the fashion swiftly became the subject of intense scrutiny in Western media.Maxwell, pp.16–18Thomas, p.91.
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The flammability of the crinoline was widely reported. It is estimated that, during the late 1850s and late 1860s in England, about 3,000 women were killed in crinoline-related fires. Although trustworthy statistics on crinoline-related fatalities are rare, Florence Nightingale estimated that at least 630 women died from their clothes catching fire in 1863-64. One such incident, the death of a 14-year-old kitchenmaid called Margaret Davey was reported in The Times on 13 February 1863.
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The American designer Anne Fogarty was particularly noted for her full-skirted designs worn over crinoline petticoats, which were always separate garments from the dress to enable ease of movement and travelling.Milbank, p.188 Life reported in 1953 on how one of Fogarty's crinoline designs from 1951 was almost exactly duplicated by a design in Dior's latest collection. Hooped, tiered and/or ruffled crinoline petticoats in nylon, net and cotton were widely worn, as were skirts with integrated hoops.
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Koda, p.125 Galliano specifically visited the original crinoline manufacturers that Christian Dior himself had used in order to inform and influence his own designs. McQueen was fascinated by the crinoline and often referenced it in his collections, cutting away leather ballgowns to reveal the cage beneath, or making it out of silver- decorated cut metal. One of McQueen's most notable crinoline designs was modelled by the amputee model Aimee Mullins in a series of photographs by Nick Knight for Dazed and Confused, in which Mullin's cage crinoline, deliberately worn without overskirts in order to reveal her prosthetic legs, was described as suggesting both a walking frame and a cage to "contain the unruliness of the unwhole".
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At the height of his success, Worth reformed the highly popular trend, the crinoline. It had grown increasingly large in size, making it difficult for women to manage even the most basic activities, such as walking through doors, sitting, caring for their children, or holding hands. Worth wanted to design a more practical silhouette for women, so he made the crinoline more narrow and gravitated the largest part to the back, freeing up a woman's front and sides. Worth's new crinoline was a major success.
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His family met William Thackeray and Charles Dickens on their American tours, and James even remembered Thackeray mock-scolding his sister Alice for her crinoline dress: "Crinoline? I was suspecting it! So young and so depraved!" In fact, for all his surface diffidence, James harbored almost Napoleonic dreams of glory as an artist.
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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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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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While tight lacing continued to be a hotly debated topic among moralists and physicians, most extreme descriptions came from male sexual fantasies.Routledge History of Sex and the Body, 2013, p. 196 The crinoline or hooped petticoat had grown to its maximum dimensions by 1860. As huge skirts began to fall from favor, around 1864, the shape of the crinoline began to change.
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The Crinoline Girl is a 1914 musical comedy written by Julian Eltinge, Otto Hauerbach, and Percy Wenrich. Producer Al Woods staged it on Broadway.
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Saunders, Edith. Eventually, Worth abandoned the crinoline altogether, creating a straight gown shape without a defined waist that became known as the princess line.Saunders, Edith.
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Ben Ali Haggin painted Sacchetto's portrait in one of her best-known costumes, titled "En Crinoline".Gardner Teall, "Ben Ali Haggin, Painter of Portraits" Hearst's (November 1916): 308.
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Her dress, "distended by a crinoline," ignited as she stood on the fender of the fireplace to reach some spoons on the mantelpiece, and she died as a result of extensive burns. The Deputy-Coroner, commenting that he was "astonished to think that the mortality from such a fashion was not brought more conspicuously under the notice of the Registrar-General," passed a verdict of "Accidental death by fire, caused through crinoline.". A similar case was reported later that year, when 16-year-old Emma Musson died after a piece of burning coke rolled from the kitchen fire to ignite her crinoline.. A month later, on 8 December 1863, a serious fire at the Church of the Company of Jesus in Santiago, Chile, killed between two and three thousand people. The severity of the death toll is credited in part to the large amounts of flammable fabric that made up the women's crinoline dresses.
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A crinoline is a stiff or structured petticoat designed to hold out a woman's skirt, popular at various times since the mid-19th century. Originally, crinoline described a stiff fabric made of horsehair ("crin") and cotton or linen which was used to make underskirts and as a dress lining. By the 1850s the term crinoline was more usually applied to the fashionable silhouette provided by horsehair petticoats, and to the hoop skirts that replaced them in the mid-1850s. In form and function these hoop skirts were similar to the 16th- and 17th-century farthingale and to 18th-century panniers, in that they too enabled skirts to spread even wider and more fully.
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Two notable victims of crinoline fires were William Wilde's illegitimate daughters, Emily and Mary, who died in November 1871 of burns sustained after their evening dresses caught fire. Although flame- retardant fabrics were available, these were thought unattractive and were unpopular. Other risks associated with the crinoline were that it could get caught in other people's feet, carriage wheels or furniture, or be caught by sudden gusts of wind, blowing the wearer off her feet. In 1859, while participating in a paper chase, Louisa, Duchess of Manchester, caught her hoop while climbing over a stile, and was left with the entirety of her crinoline and skirts thrown over her head, revealing her scarlet drawers to the assembled company.
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It consisted of a short, stiff skirt supported by layers of crinoline or tulle that revealed the acrobatic legwork, combined with a wide gusset that served to preserve modesty.
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The thieves are operating from the Hotel de Beau Rivage in Lausanne, Switzerland, where the Ainsleys are also staying. Tom tracks down the gang's female accomplice, the titular Crinoline Girl, and subdues her. He then puts on women's clothes to disguise himself as the Crinoline Girl and capture the thieves. Tom's success facilitates not only his own romance with Dorothy, but also the romance of his sister Alice Hale with Dorothy's cousin Jerry Ainsley.
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The music video features the pair performing the song in massive crinoline skirts in front of a mansion. These scenes are intercut with shots of the duo being driven through London.
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Cunnington, p.89 That year, Rudolph Ackermann's Repository of Fashions described the new textile as a "fine clear stuff, not unlike in appearance to leno, but of a very strong and durable description: it is made in different colours; grey, and the colour of unbleached cambric are most in favour." Petticoats made of horsehair crinoline appeared around 1839, proving so successful that the name 'crinoline' began to refer to supportive petticoats in general, rather than solely to the material.
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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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Tight- waisted skirts with bells in the shape of a crinoline are also depicted. An overdress with a V-shaped cut which was fixed at the shoulders with fibulae was found in Noricum.Helmut Birkhan: Kelten. Versuch einer Gesamtdarstellung ihrer Kultur. pp.
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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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The cage crinoline made out of spring steel wire was first introduced in the 1850s, with the earliest British patent for a metal crinoline (described as a 'skeleton petticoat of steel springs fastened to tape.') granted in July 1856.Gernsheim, p.45Breward, pp.157–160 Alison Gernsheim suggests that the unidentified French inventor was probably R. C. Milliet of Besançon, as the July 1856 patent was filed by their British agent, C. Amet. Milliet had already patented a 'tournure de femme' in Paris on 24 April 1856 which was described as comprising 'elastic extensible circles joined together by vertical bands.
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Critical articles on the crinoline were published by the Hungarian journal Az Üstökös (1858) and the Bulgarian journalist Petko Slaveykov in 1864. In the 1850s, the Welsh poet Dafydd Jones wrote a ballad decrying the fashion. A similar sentiment was expressed by a Russian song published in 1854, where the singer complains about his wife having assumed the fashion. In 1855, an observer of Queen Victoria's state visit to Paris complained that despite the number of foreigners present, Western fashions such as the crinoline had diluted national dress to such an extent that everyone, whether Turkish, Scottish, Spanish or Tyrolean, dressed alike.
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A desirable silhouette could be influenced by many factors. The invention of crinoline steel influenced the silhouette of women in the 1850s and 60s. The posture of the Princess Alexandra influenced the silhouette of English women in the Edwardian period. See advertisement left.
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Cojuhari, p.62 In 1946, despite her blindness and her age-related illnesses, Miller- Verghy published her best-known work of fiction, Prințesa în crinolină ("The Princess in Crinoline"). It was a breakthrough in popular fiction and the Romanian detective novel.Golopenția, p.
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Cunnington & Cunnington, p.147 However, quilted skirts were not widely produced until the early 1850s. In about 1849, it was possible to buy stiffened and corded cotton fabric for making petticoats, marketed as 'crinoline,' and designed as a substitute for the horsehair textile.Cunnington, pp.
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Enola returns to her lodgings to find that somebody has kidnapped her landlady, Mrs. Tupper. After investigating the ransacked lodgings, she abduces that the kidnappers were after a secret message hidden in Mrs. Tupper's old crinoline dress. Enola traces the dress to Florence Nightingale, who met Mrs.
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Ball Gown circa 1896 Three letters form a thread that illustrates the volleying back and forth.Lord, William Berry, The Corset and The Crinoline, Ward, Lock and Tyler, London, 1868, pp. 172-7 The first was written by a mother, surprised that the school acted on its own.
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In the spring of 1982 (as featured in the June issue of Time Magazine that year), short skirts began to re-emerge, notably in the form of "rah-rahs", which were modeled on those worn by female cheerleaders at sporting and other events. In 1985, the British designer Vivienne Westwood offered her first "mini-crini", an abbreviated version of the Victorian crinoline. Its mini-length, bouffant silhouette inspired the puffball skirts widely presented by more established designers such as Christian Lacroix. In 1989, Westwood's mini-crini was described as having combined two conflicting ideals – the crinoline, representing a "mythology of restriction and encumbrance in woman's dress", and the "equally dubious mythology of liberation" associated with the miniskirt.
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Tupper in the Crimean War. After several visits to Nightingale, Enola discovers that Nightingale conducted espionage during the war. As such, Nightingale asked Mrs. Tupper to smuggle a note in her crinoline back to England but did not know that the war widow was deaf and did not understand her.
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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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A Zephyrina Jupon is a modified crinoline in the form of a metal frame with an open front. It gradually widens in circumference towards the feet. It is straight from the waist down at the front, but the train widens out at the back. They were popular during the mid-Victorian era (1857–77) Messrs.
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Young & Young, p.91.Ewing, pp.119–120 Westwood's 'mini-crini', 1987 In the mid-1980s Vivienne Westwood revisited the crinoline, taking inspiration from the ballet Petrushka to produce miniskirt length versions that she christened the "mini-crini." The mini-crini silhouette influenced the work of other designers such as Christian Lacroix's "puffball" skirts.
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A vintage shirtdress worn with a belt, 1970s. A 1990s shirt-dress. Shirt dresses were sometimes called "shirtwaist dresses" when they were fashionable during the 1950s. The 1950s version of the shirtdress was launched as part of Christian Dior's post–World War II "New Look" couture designs, with a full skirt held up by wearing a crinoline.
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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 name crinoline is often described as a combination of the Latin word crinis ("hair") and/or the French word crin ("horsehair"); with the Latin word linum ("thread" or "flax," which was used to make linen), describing the materials used in the original textile.Yarwood, pp.125–127Martin & Koda, p.119Steele, Encyclopedia of clothing and fashion, p.
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By the early 1860s, skirts had reached their ultimate width. After about 1862 the silhouette of the crinoline changed and rather than being bell-shaped it was now flatter at the front and projected out more behind. This large area was largely occupied by all manner of decoration. Puffs and strips could cover much of the skirt.
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Steam-molding, patented in 1868, helped create a curvaceous contour.Takeda and spilker (2010), p. 96 Skirts were supported by a hybrid of the bustle and crinoline or hooped petticoat sometimes called a "crinolette". The cage structure was attached around the waist and extended down to the ground, but only extended down the back of the wearer's legs.
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Chemically, spermaceti is more accurately classified as a wax rather than an oil. Whalebone was baleen plates from the mouths of the baleen whales. Whalebone was commercially used to manufacture materials that required light but strong and thin supports. Women's corsets, umbrella and parasol ribs, crinoline petticoats, buggy whips and collar-stiffeners were commonly made of whalebone.
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2, p.18-29. Matteson used canvas hose which was later replaced with crinoline hose by the 1860s. In California, hydraulic mining often brought water from higher locations for long distances to holding ponds several hundred feet above the area to be mined. California hydraulic mining exploited gravel deposits, making it a form of placer mining.
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32 Dickson found that gauze placed on a wound with tape did not stay on her active fingers. In 1920, he placed squares of gauze in intervals on a roll of tape, held in place with crinoline. James Wood Johnson, his boss, liked the idea, and put it into production. In 1924, Johnson & Johnson installed machines to mass-produce the once handmade bandages.
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The screenplay, adapted from Karla Vernon's The Spy in Crinoline and numerous primary sources, intersperses dramatic sequences shot on-location in Fairfax County, Virginia, with period images, narration, and interviews with historians. Directed by Bert Morgan, it stars Emily Lapisardi as Antonia Ford, Gregory Labenz as Joseph Willard, Becci Varga as Laura Ratcliffe, and Joe Cain as General J.E.B. Stuart.
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The theater is now part of the AMC Empire 25 cineplex having been lifted and moved in its entirety down the block from its original location. Following on the success of The Fascinating Widow, Eltinge performed in two other comedies that had similar success, The Crinoline Girl which opened in 1914 and Cousin Lucy (with music by Kern) the next year.
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Moss, Sidney P. Poe's Literary Battles: The Critic in the Context of His Literary Milieu. Carbondale, IL: Southern Illinois University Press, 1962: 23. An 1859 fashion plate from Godey's Lady's Book showing crinoline fashions The magazine was expensive for the time; subscribers paid $3 per year (for comparison, The Saturday Evening Post was only $2 per year).Oberholtzer, Ellis Paxson.
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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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The specific epithet is the Latin adjective indūsǐātus, "wearing an undergarment". The former generic name Dictyophora is derived from the Ancient Greek words (diktyon, "net"), and (pherō, "to bear"), hence "bearing a net". Phallus indusiatus has many common names based on its appearance, including long net stinkhorn, crinoline stinkhorn,Hall (2003), p. 19. basket stinkhorn, bridal veil fungus, and veiled lady.
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However, Caroll instructed Tenniel not to give it "so much crinoline", a common component of women's dresses at the time. Tenniel also changed the dress from book to book. In Through the Looking Glass, he gave Alice striped horizontal stockings and her (now eponymous) headband. For The Nursery "Alice", he re-drew twenty of the illustrations, and brought Alice into line with contemporary fashion.
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Women dropped the cumbersome underskirts from their tunic-and-skirt ensembles, simplifying dress and shortening skirts in one step. By 1915, the Gazette du Bon Ton was showing full skirts with hemlines at calf length. These were called the "war crinoline" by the fashion press, who promoted the style as "patriotic" and "practical".Steele, Valerie: Paris Fashion: A Cultural History, Oxford University Press, 1988, pp.
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Now & Forever Yours: Letters to an Old Soldier was a critical success, winning, among others, an Emmy Award nomination for cinematography. The dialogue between the lovers was taken directly from the couple’s surviving letters. The movie starred Katie Tschida and Winston Shearin. In 2009, BLM Productions released a feature-length docudrama, Spies in Crinoline, which recounts the intersecting lives of spies Antonia Ford and Laura Ratcliffe.
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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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Williams, Laing & Frost, p.178Gleason & Jeter,p.45; p.20 Wedding dress, 2005 In some contexts, the traditional hooped crinoline may be seen as controversial, as in early 2015 when the University of Georgia reportedly requested hoop skirts not be worn to certain fraternity events due to their perceived association with Southern Belles and the slave-owning, upper socioeconomic classes of the American Deep South.
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Both slimline and crinoline styles were included. In addition Hartnell designed for the young Princess Elizabeth and Princess Margaret; Molyneux also designed some day clothes for the Princesses during this trip. Embroidered Wedding Dress, 1951, worn by Hermione S. Ball for her marriage to Mervyn Evans, 23 July 1951. He added a band of embroidery to elongate the body and add grandeur to the back of the full skirt.
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In an interview with Seventeen magazine, Lewis described the album's packaging and design as having a desert setting. Each of Lewis's outfits, described as "modern, 'heroine' gowns", was designed by Vivienne Westwood. Each gown was made-to-measure in Westwood's central London atelier. They are created in gold lamé and white satin, are fitted around a boned leotard and feature the designer's signature cleavage-enhancing corset, with a crinoline-style skirt.
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30Cleland, Davies & Llewellyn-Jones, p.125 The crinoline's ancestors are more typically recognised as the Spanish verdugada, later known as the farthingale, widely worn in Europe from the late 15th century to the early 17th century, and the side-hoops and panniers worn throughout the 18th century.Watt, p.78Gernsheim, p.44 The horsehair fabric called crinoline was first noted by 1829, when it was offered for lining and dress- making.
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The company's entry into the vehicle market was by means of crinoline dresses, which used steel rods, leading to umbrella frames, saw blades, chisels, wire wheels, and bicycles.Darke, Paul. "Peugeot: The Oldest of them All", in Northey, Tom, ed. The World of Automobiles (London: Orbis Publishing, 1974), Volume 15, p.1682. Armand Peugeot introduced his "Le Grand Bi" penny-farthing in 1882, along with a range of other bicycles.
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The complex is located north of downtown Worcester, between Grove and Prescott Streets north of Faraday Street. It consists of thirteen brick buildings, the oldest of which was built in 1863. Located at the southern end of the complex, the Cotton Mill manufactured cotton that was used to wrap crinoline wire that was used in hoop skirts. When hoop skirts went out of fashion, the building was converted to produce wire.
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The earlier form of the pannier took the shape similar to a 19th-century crinoline. They were wide and domed in circumference. As they developed, they differed from earlier equivalents such as the farthingale of the late 16th century, by not extending equally in all directions, but being very wide at the sides, but not coming out so far to front and back. By the mid-century, the "shoulders" were rather abrupt, not gently curved.
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Madison started her stage career as an actress in touring companies, and appeared with English actor Richard Mansfield in Richard III. By 1893, she was described primarily as a dancer, specializing in performance of the "crinoline dance" or skirt dance, a popular trend of the day.Nancy A. Hewitt, "Varieties of Voluntarism: Class, Ethnicity, and Women's Activism in Tampa" in Louise A. Tilly and Patricia Gurin, eds., Women, Politics and Change (Russell Sage Foundation 1990): 75.
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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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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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Long also built a director's saloon carriage, named Crinoline. By the time of takeover the C&YR; had accumulated 25 passenger carriages and 29 wagons, all of which passed to the GS&WR.; The Railway magazine note the GS≀ used the tank locomotives designed by Alexander McDonnell in 1883 as the preferred locomotive for the lines. The second half of the 1950s seen the replacement of steam locomotives with diesel locomotives and railcars.
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The princess line is popularly associated with Charles Frederick Worth who first introduced it in the early 1870s. It was named in honour of the famously elegant Princess Alexandra. By the late 1870s and early 1880s the Princess dress was a popular style. It is considered one of the first "bodycon" (body-conscious) fashions due to its extremely closely fitted design, presenting the figure in a natural (or at least, corseted) form undistorted by either crinoline or bustle.
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A corset may also include garters to hold up stockings; alternatively, a separate garter belt may be worn. Traditionally, a corset supports the visible dress and spreads the pressure from large dresses, such as the crinoline and bustle. At times, a corset cover is used to protect outer clothes from the corset and to smooth the lines of the corset. The original corset cover was worn under the corset to provide a layer between it and the body.
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The company specialised in "Brown Betty" teapots. Early versions were terracotta with a transparent glaze, and were shaped by jiggering, jolleying and slipcasting, later they were white earthenware glazed with a Rockingham brown glaze and shaped entirely by slipcasting. They began making novelty shaped teapots in the 1930s, Crinoline ladies, a father Christmas teapot and, in 1938, the iconic racing car teapot, followed by a tank with "Old Bill" as the lid in 1947.Brahma, Edward.
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Public demand was increased when a similar colour was adopted by Queen Victoria in Britain and by Empress Eugénie, wife of Napoleon III, in France, and when the crinoline or hooped-skirt, whose manufacture used a large quantity of cloth, became fashionable. Everything fell into place: with hard work and lucky timing, Perkin became rich. After the discovery of mauveine, many new aniline dyes appeared (some discovered by Perkin himself), and factories producing them were constructed across Europe.
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The main feature of Lolita fashion is the volume of the skirt, created by wearing a petticoat or crinoline. The skirt can be either bell-shaped or Aline-shaped. Components of the lolita wardrobe consist mainly of a blouse (long or short sleeves) with a skirt or a dress, which usually comes to the knees. Lolitas frequently wear wigs in combination with other headwear such as hair bows or a bonnet (similar to a Poke bonnet).
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Fashionable dress, late 19th century The dominant aesthetic of the mid- nineteenth century called for full skirts. Prior to the common wearing of the crinoline, several petticoats would be worn in order to provide this fullness. A corset, used to constrict the waist and create slenderness, could also accentuate a full skirt through comparison. The Saint Paul Daily Globe wrote of corsetry:"Corsets for Belles" The Saint Paul Daily Globe (2 February 1890) There were countless denunciations.
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One observer wrote "the dress was a crinoline, a symbol of sexuality and grandiosity, a meringue embroidered with pearls and sequins, its bodice frilled with lace". The gown was decorated with hand embroidery, sequins, and 10,000 pearls, centering on a heart motif. An 18-karat gold horseshoe was stitched into the petticoats as a sign of good fortune. The lace used to trim it was antique hand-made Carrickmacross lace which had belonged to Queen Mary.
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Rather than being dome- shaped, the front and sides began to contract, leaving volume only at the back. The "American" cage, a hooped petticoat partially covered in fabric, came in bright colors made possible by the new aniline dyes. This was followed by a hybrid of the bustle and crinoline sometimes called a "crinolette". The cage structure was still attached around the waist and extended down to the ground, but only extended down the back of the wearer's legs.
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The novelty store of Carrefour-Drouot on the Rue Drouot in 1861, an ancestor of the modern department store. Bon Marché, the first modern department store, in 1867. The Second Empire saw a revolution in retail commerce, as the Paris middle class and consumer demand grew rapidly. The revolution was fuelled in large part by Paris fashions, especially the crinoline, which demanded enormous quantities of silk, satin, velour, cashmere, percale, mohair, ribbons, lace, and other fabrics and decorations.
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According to the script for "Eye of the Needle", the holodeck program occurred in "a drawing room in an English Lord's nineteenth-century manor", the script for "Cathexis" mentions that Janeway's outfit included a crinoline and a corset. The space used for all of the holonovel scenes was dubbed "the Jane Eyre set" by the film crew. The story was compared to Henry James' novella The Turn of the Screw,Ruditis (2003): p. 25 and Daphne du Maurier's novel Rebecca.
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286-287 Various critics have noted that Sion's works of the 1920s and '30s are generally awkward, "scholastic", or geometrical and impersonal.Gogîltan, p.127, 144 The Meridiane study finds some of his works to be "emphatic", noting that Sion "does not reach into the philosophical meaning of folk mythology, retaining only its picturesque exterior." In some of his late canvasses, Sion makes a comeback to Symbolism, but gives it a "Rococo" twist, for instance by having his wife pose in crinoline.
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Goswami has suffered from depression since her childhood. In the opening pages of her autobiography, The Unfinished Autobiography, she mentions her inclination to jump into Crinoline Falls located near their house in Shillong.Adha Lekha Dastabej, 1983, Students' Stores, Guwahati Repeated suicide attempts marred her youth. After the sudden death of her husband, Madhaven Raisom Ayengar of Karnataka, in a car accident in the Kashmir region of India, after only eighteen months of marriage, she became addicted to heavy doses of sleeping tablets.
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Bloomer herself dropped the fashion in 1859, saying that a new invention, the crinoline, was a sufficient reform that she could return to conventional dress. Also in 1851, Bloomer introduced the suffragettes Elizabeth Cady Stanton and Susan B. Anthony to each other. In 1854, when Bloomer and her husband decided to move to Council Bluffs, Iowa, Bloomer sold The Lily to Mary Birdsall in Richmond, Indiana. Birdsall and Dr. Mary F. Thomas kept the publication going at least through 1859.
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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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This type of dress is representative of decent elegance and strays from fashion trends. A tight waist, proper upper body, and cotton dress lining are the main characteristics. The exquisite design of the crinoline dress reflects the feeling of the nobility, and the large skirt makes women seem more solemn. In the British royal family, some dresses have had a history of several hundred years and were passed down from generation to generation Many may even be treated as a cultural relic.
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In the 18th and 19th centuries, baleen whales especially were hunted for their baleen, which was used as a replacement for wood, or in products requiring strength and flexibility such as corsets and crinoline skirts. In addition, the spermaceti found in the sperm whale was used as a machine lubricant and the ambergris as a material for pharmaceutical and perfume industries. In the second half of the 19th century, the explosive harpoon was invented, leading to a massive increase in the catch size.
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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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'After First Communion' (1892) Carl Frithjof Smith :commons:File:After_first_Communion_(Carl_Frithjof_Smith,_1892).jpg, 1892 The Confirmation dress is featured several times in M. NourbeSe Phillip's 1989 poetry anthology She Tries Her Tongue, Her Silence Softly Breaks, especially the poem Over Every Land and Sea. In this poem, the whiteness of the Confirmation dress is contrasted against the wearer's dark legs and the 'stiff' crinoline. Described as being worn by a girl in the negative of a photograph, the white dress is represented as dark-shaded.
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The concept of lingerie is a visually appealing undergarment that was developed during the late nineteenth century. Lady Duff-Gordon of Lucile was a pioneer in developing lingerie that freed women from more restrictive corsets. Through the first half of the 20th century, women wore underwear for three primary reasons: to alter their outward shape (first with corsets and later with girdles or brassieres), for hygienic reasons and for modesty. Before the invention of crinoline, women's underwear was often very large and bulky.
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The bustle later developed into a feature of fashion on its own after the overskirt of the late 1860s was draped up toward the back and some kind of support was needed for the new draped shape. Fullness of some sort was still considered necessary to make the waist look smaller and the bustle eventually replaced the crinoline completely. The bustle was worn in different shapes for most of the 1870s and 1880s, with a short period of non-bustled, flat-backed dresses from 1878 to 1882.
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Indeed, he was one of the very few manufacturers in this country produced crinoline steels. The most important and lucrative business was done in this specialty until fashion was fickle enough to decree the collapse of the skirts. That change rule and many manufacturers, who had not received, as Mr. Fox and done, but it was folly to build homes of permanent seat on anything which depended on so arbitrary a tyrant as the fashionable world. He simply turn his attention in other directions.
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Advertisement in Moving Picture World, August 1917 In 1914 Eltinge starred in silent picture versions of The Crinoline Girl followed by Cousin Lucy the next year. According to Anthony Slide's The Encyclopedia of Vaudeville, he also had a cameo role in a film entitled How Molly Malone Made Good in 1915. Eltinge's first real screen success came in 1917 in The Countess Charming. His role in the film was again a double role with him playing both a male and said male in female garb.
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Bon Marché, the first modern department store, in 1867. The Second Empire saw a revolution in retail commerce, as the Paris middle class and consumer demand grew rapidly. The revolution was fuelled in large part by Paris fashions, especially the crinoline, which demanded enormous quantities of silk, satin, velour, cashmere, percale, mohair, ribbons, lace and other fabrics and decorations. Prior to the Second Empire, clothing and luxury shops were small and catered to a very small clientele; their windows were covered with shutters or curtains.
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Towards the end of the 1960s, an even shorter version, called the microskirt or micro- mini, emerged. Extremely short skirts, some as much as eight inches above the knee, were observed in Britain in the summer of 1962. The young women who wore these short skirts were called "Ya-Ya girls", a term derived from "yeah, yeah" which was a popular catcall at the time. One retailer noted that the fashion for layered net crinoline petticoats raised the hems of short skirts even higher.
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The finished cylinders are placed in boxes which contain 16 pegs and run down a conveyor. At a point on this conveyor, the cylinders are held and brushed on the inside to remove wax shavings and dust. 11\. Cylinders are inspected, packed and placed in the stock room for a minimum of thirty days before shipping. 12\. The reinforcing liners are made as follows: Crinoline cloth of specifications given under "Tests", are cut into a trapezoid (Paper Products Dept.) base length 6¼, altitude 5⅝" top length 5¾".
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The workers had to provide glue and string from their own funds. In 1861, at the Fairfield Works, a dilapidated site that had once been used for the manufacture of candles, crinoline and rope, close to the River Lea in Bow, they began to manufacture their own safety matches and "other chemical lights". This site was gradually expanded as a model factory. The public were initially unwilling to buy the more expensive safety matches so they also made the more profitable traditional Lucifer Matches.
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Women's traditional dress is a dress made of the some cloth often with a crinoline skirt underneath, decorated with ribbons and embroidery although beads and sequins are also used. A wool rebozo is common in the winter. For charreada events, men can be seen in charro outfits and women in China Poblana dress. Traditional dishes of the area include barbacoa, carnitas, pulque, nopal cactus with eggs, beans with epazote and mixote but the area is known for dishes made with escamoles (ant eggs) as well as mezcal worms which are both seasonal.
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However, this portrait of Infanta Margarita is possibly the best of the three. In this portrait, Velázquez used the technique of loose brushstrokes that fuse into coherence only when viewed from a certain distance. The infanta, here eight years old, is shown with a solemn expression. She wears a blue silk dress which is adorned with silver borders after the Spanish fashion of the era; the most striking characteristic is the huge expanse of the voluminous crinoline which is accentuated by the trimmed borders and the wide lace collar.
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While making their way through the congestion of moving equipment and machinery, tragedy struck. Ann's crinoline and dress became caught in one of the turbine shafts on the second floor of the Mill and she was flung against a pillar and killed instantly. Following this tragedy, Joseph immediately lost all interest in the Mill and eventually sold his shares to his partner Dickinson. Since that time, there have been numerous unconfirmed sightings of Ann's ghost in Watson's Mill, causing the site to be often considered among Ottawa's haunted buildings.
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Some evening wear was embroidered with sequins and glass. There was a complete change of style apparent in designs for the grander evening occasions, when Hartnell re-introduced the crinoline to world fashion, after the King showed Hartnell the Winterhalter portraits in the Royal Collection. King George suggested that the style favoured earlier by Queen Victoria would enhance her presence. It also came to symbolise the continuing values of the established British monarchy worldwide, after the debacle of the Abdication Crisis, when the uncrowned Edward VIII wanted to marry a twice-divorced American, Wallis Simpson.
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89–90 Inconsolable Frans Verhas' cleverly constructed compositions treat with an extreme precision the rich interiors, enriched with satins and goblins, skins of animals and marbles that frame the elegant crinoline worn by the female sitters. He was particularly skilled in the rendering of the textures of various materials such as satin, marble and other precious materials in his works. Verhas received various commissions for religious paintings for churches in his hometown Dendermonde and for historical paintings for the City hall of Dendermonde. His history paintings treat their subjects with a powerful realism.
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In 1960, a child had the choice of one of two outfits for their doll. One outfit had a blue dress with a white eyelet overblouse, panties, crinoline, blue shoes and white socks, and the other dress had a red velvet headband, red sunsuit with a red pinafore with an overskirt of white voile, red shoes and white socks. Other accessories accompanying the doll were a story and comic book, shoehorn, and a paper wrist tag that was also a numbered warranty card. The doll and its accompanying accessories were advertised at less than $20.
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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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Wider bell-shaped or pagoda sleeves were worn over false undersleeves or engageantes of cotton or linen, trimmed in lace, broderie anglaise, or other fancy-work. Separate small collars of lace, tatting, or crochet-work were worn with morning dresses, sometimes with a ribbon bow. Evening ball gowns were very low-necked, off-the-shoulder, and had short sleeves. The introduction of the steel cage crinoline in 1856 provided a means for expanding the skirt still further, and flounces gradually disappeared in favor of a skirt lying more smoothly over the petticoat and hoops.
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In 1964, 1965 and 1966 she performed at National Festival of Polish Song in Opole. In the early 1960s, Villas toured many countries in Europe, including Germany, Belgium, Switzerland, Spain, Russia, Czechoslovakia, Bulgaria and Romania, as well as in the United States, Canada and Israel. Villas in Christian Dior crinoline In 1964 at the National Festival of Polish Song in Opole, Bruno Coquatrix invited her to France. At the 3rd Festival International des Variétés et Music-Halls in Rennes, Villas received her Grand Prix International d'Interpretation (she sang including Ave Maria).
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The first book, The Case of the Missing Marquess, and the fifth, The Case of the Cryptic Crinoline, were nominated for the Edgar Awards for Best Juvenile Mystery in 2007 and 2010, respectively. Karen MacPherson in the Pittsburgh Post-Gazette called Enola a "highly appealing heroine". In a review for the first book, Children's Book and Play Review echoed the statement, calling Enola "a bright and endearing character". The review also praised the novel for being "fast-paced and suspenseful" as well as its integration of Victorian culture but noted that it "wrap[ped] up a bit briskly".
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In 1989, Lacroix launched jewelry, handbags, shoes, glasses, scarves, and ties (along with ready-to-wear). In this same year, he opened boutiques within Paris, Arles, Aix-en-Provence, Toulouse, London, Geneva, and Japan. With his background in historical costume and clothing, Lacroix soon made headlines with his opulent, fantasy creations, including the short puffball skirt ("le pouf"), rose prints, and low décolleté necklines. He referenced widely from other styles—from fashion history (the corset and the crinoline), from folklore, and from many parts of the world—and he mixed his references in a topsy-turvy manner.
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It was opened at twelve o'clock on Mrs Thwaytes' 48th birthday, 2 October 1837. A large triumphal arch intertwined with greenery and topped with flags was built close to the Clock Tower. Mrs Thwaytes, accompanied by Simm Smith and wearing a blue satin crinoline, was conveyed along the very short distance from her residence to the Clock Tower in the first of a train of carriages containing trustees of the Clock Tower and other personages bearing wands and wearing blue rosettes. This procession was preceded by blue and white flags and a band, and followed by a cheering multitude.
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In the early stages of the fashion for the bustle, the fullness to the back of the skirts was carried quite low and often fanned out to create a train. The transition from the voluminous crinoline-enhanced skirts of the 1850s and 1860s can be seen in the loops and gathers of fabric and trimmings worn during this period. The bustle later evolved into a much more pronounced humped shape on the back of the skirt immediately below the waist, with the fabric of the skirts falling quite sharply to the floor, changing the shape of the silhouette.
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The scene enables Egley to paint a variety of people crowded into the carriage. The passengers are forced together without regard to their social status and do their best to ignore avoid catching each other's eye. An elderly country woman with piles of luggage looks in concern at the plight of a well-dressed young mother (based on Egley's wife) with two children, who demurely averts her gave; further back a city clerk sits with his cane. A young woman with parasol and fashionable crinoline is attempting to enter, with the conductor peering in to check if there is any space.
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From there, they moved to France; and then lived in London; Geneva, Switzerland; and finally Brussels, Belgium. She was well-known for her charm and during her Washington, D. C. days, created a stir when she appeared at one embassy reception in a dress with a crinoline designed in the style of the Second French Empire. During this period, Vinarova rarely painted, but resumed her work when the couple was recalled to Bulgaria in 1940 by Georgi Kyoseivanov. After the Bulgarian coup d'état of 1944, both Vinarova and Radev were removed from public life and forbidden to engage in political or social activities.
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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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Brooks Atkinson, reviewing the original 1932 production for The New York Times, called the musical a "bountiful merry-go-round" of songs and "gibes", writing that it is "bold satire", but has familiar musical comedy numbers, such as the "stunning mirror dance... expressionistic Times Square ballet...and "Dear Old Crinoline Days which is guffawing burlesque."Atkinson, Brooks. "The Play", The New York Times, February 18, 1932, p. 24 An unnamed reviewer, quoted in the Brown biography Moss Hart, wrote "It's a worthy successor to Of Thee I Sing [but] it doesn't entirely measure up to it.
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Furthermore, Enola must keep ahead of her brothers who are determined to capture and force her to conform to their expectations. This pastiche series borrows characters and settings from the established canon of Sherlock Holmes, but the Enola character is Springer's creation and specific to this series. The first book, The Case of the Missing Marquess, and the fifth, The Case of the Cryptic Crinoline, were nominated for the Edgar Awards for Best Juvenile Mystery in 2007 and 2010, respectively. In 2020, the literary series was adapted into a film with Millie Bobby Brown in the title role and Henry Cavill playing Sherlock Holmes.
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On Friday, 8 May 1885, Thomas Stevens, resident inspector for the Clifton Suspension Bridge, reported that Henley had climbed over the railings and on to the parapet. Before anyone could reach her, she had thrown herself off. Witnesses claimed that a billowing effect created by an updraft of air beneath her crinoline skirt slowed the pace of her fall, misdirecting her away from the water and instead toward the muddy banks of the Bristol side of the Avon River. Although there is no evidence that the wind or the skirt saved Henley from the fall, the story has nevertheless become a local Bristol legend.
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A year later in 1914, Nielsen provided 25 colour plates and more than 21 monotone images for the children's collection East of the Sun and West of the Moon. The colour images for both In Powder and Crinoline and East of the Sun and West of the Moon were reproduced by a 4-colour process, in contrast to many of the illustrations prepared by his contemporaries that characteristically utilized a traditional 3-colour process. Also in that year, Nielsen produced at least three illustrations depicting scenes from the life of Joan of Arc. When published later in the 1920s, these images were associated with relevant text from The Monk of Fife.
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In recent years, Cohen has performed frequently as a solo act, as well as collaborating with a number of groups including LYDSOD, Long Lost, Raw Thrills, Castles, and Espadrille. In 2008, she released her debut solo studio album Sky Flowers on her self-owned label Crinoline. Other solo studio albums include Walking Up Walls (2009), Pink Keys (2012), Wild Vines & Tenement Shrines (2013), Into the Grey Salons (2016), and her most recent album Artificial Fairytales (2019). With the release of Cohen's solo albums, she became active in video and animation, creating music videos to accompany her own releases, as well as composing soundtracks for other animations and video projects.
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Robert Forrest Wilson (January 20, 1883 in Warren, Ohio – May 9, 1942 in Weston, Connecticut) was an American author and journalist. He won the Pulitzer Prize for Biography or Autobiography in 1942 for his biography of Harriet Beecher Stowe, Crusader in Crinoline: The Life of Harriet Beecher Stowe (Philadelphia: Lippincott, 1941).books.google.com Wilson was born in Warren, Ohio. During the First World War he served as a captain with the US Army Chemical Warfare Service and later (1923-1927) as Assistant Secretary of War charged with gathering historical data on the conflict, much of which formed the basis of several co-authored works about mobilization.
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Despite objections that the sharp points of snapped steels were hazardous, lightweight steel was clearly the most successful option. It reduced the number of petticoats and their weight, and offered increased freedom of movement of the legs. However, hasty or careless movements in a hoop skirt could lead to accidentally revealing more than intended. An advertisement published in The Lady's Newspaper in 1863 for a cage crinoline with waved hoops attempted to reassure the potential customer that while wearing it, activities such as climbing stairs, passing to her theatre seat, dropping into armchairs and leaning against furniture would be possible without hindrance either to herself or to others around her.
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Skirts evolved from a conical shape to a bell shape, aided by a new method of attaching the skirts to the bodice using organ or cartridge pleats which cause the skirt to spring out from the waist. Full skirts were achieved mainly through layers of petticoats. The increasing weight and inconvenience of the layers of starched petticoats would lead to the development of the crinoline of the second half of the 1850s. Sleeves were narrower and fullness dropped from just below the shoulder at the beginning of the decade to the lower arm, leading toward the flared pagoda sleeves of the 1850s and 1860s.
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Berger claims that, in Western European cultures, the role of men is considered active and that of women considered passive or, to put it differently, men observe women and women are observed by men.Barnard, Malcolm, Fashion and Communication, New York (Routledge) 2002, p. 119. This asymmetry in the relationship between men and women was visualized in dress in the nineteenth century: women were more and more prescribed to fashionable clothing, clothing that disabled them to be active due to, for example, crinoline dresses that were very heavy, whereas men had the ability to be active due to their sober and simple clothing.Barnard, Malcolm, Fashion and Communication, New York (Routledge) 2002, p. 141.
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In the cartoons, the character appeared as an archetype of a pleasant girl from the middle classes; she has been described as similar to Alice: "a pacifist and noninterventionist, patient and polite, slow to return the aggression of others". Tenniel's fee for illustrating the sequel Through the Looking-Glass (1871) rose to £290, which Carroll again paid for out of his own pocket. Tenniel changed Alice's clothing slightly in the sequel, where she wears horizontal-striped stockings instead of plain ones and has a more ornate pinafore with a bow. Originally, Alice wore a "crinoline-supported chessmanlike skirt" similar to that of the Red and White Queens, as a queen; the design was rejected by Carroll.
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"A social climber with a nose for power", the 26-year-old Duchess (through her friendship with Lord Derby, the then prime minister) was appointed Mistress of the Robes to Queen Victoria in February 1858, resigning in June 1859, when Lord Derby's government fell. Victoria regretted her departure, calling her "a very pleasant, nice, sensible person". The Duchess soon developed close friendships with Edward, Prince of Wales and Alexandra, Princess of Wales. Lady Eleanor Stanley recorded in her diary in 1859 that during a "paper chase", the Duchess caught her hoop while climbing over a stile and was left with the entirety of her crinoline and skirts thrown over her head, revealing her scarlet drawers to the assembled company.
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His clothes were so popular with the press that he opened a House in Paris in order to participate in Parisian Collection showings. Within a decade, Hartnell again effectively changed the fashionable evening dress silhouette, when more of the crinoline dresses worn by the Queen during the State Visit to Paris in July 1938 also created a worldwide sensation viewed in the press and on news-reels. The death of the Queen's mother Cecilia Bowes-Lyon, wife of the Earl of Strathmore, before the visit resulted in court mourning and a short delay in the dates of the visit to a vital British Ally, of enormous political significance at a time when Germany was threatening war in Europe.
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Developing her technique through experimentation, she naturally bowled with a higher arm due to her skirts, and found roundarm to be far more successful for her than underarm. Major rejects the "hooped skirt" story because, as he says, "they were no longer in vogue by 1807". The Oxford Dictionary of National Biography traces the story of Christiana's supposed contribution to cricket, noting that her son Edward Hodges wrote about his mother playing cricket with her brother John Willes, a Kent county player identified with the round-arm bowling style. Hodges' account makes mention neither of crinoline nor of roundarm bowling, merely that Christiana, John and their dog could beat any eleven in England.
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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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After undergoing treatment and recovery, she resumed the concert tour in the form of Showgirl: The Homecoming Tour in 2007, and performed "Spinning Around" with combined elements of her previous singles "Shocked" and "What Do I Have to Do". The song was performed as part of the "Beach Party" act of the KylieX2008 tour, during which Minogue was dressed as a "sequinned sailor." A medley of "Spinning Around", "Shocked", "What Do I Have to Do" and "Step Back in Time" was performed during the For You, for Me tour in 2009, Minogue's first North American tour. Dressed in a top hat and a black crinoline, Minogue performed "Spinning Around" during her Aphrodite: Les Folies Tour in 2011.
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Corsets and tight-lacing were extensively explored by EMD. Tight-lacing was used as a way to enhance a women's figure, as it gradually added pressure on her waist to make it smaller over time. Some women slept in their corsets in hopes of tying it tighter in the morning. EDM had a correspondence column called, “The Corset Correspondence”. Two columns “Cupids Letter-Bag” and “Englishwoman’s Conversazione” were later combined into “The Conversazione””. The editors “decided to create some detached volumes about the themes due to the profit that this topic brought in. The Corset and the Crinoline (later republished as The Freaks of Fashion) and a History of the Rod”. EDM became a source of information for Victorian women.
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The result was a huge success, and it would spell eleven more musicals, including High Jinks (1913) (which featured the song "All Aboard Dixieland" by Jack Yellen and George L. Cobb) and Katinka (1915). Most of the shows they wrote together ran for over 200 performances. In 1914, he contributed the libretto only to the Percy Wenrich musical The Crinoline Girl. In 1917, he shortened his name from Hauerbach to Harbach to avoid anti-German sentiment caused by World War I. He would also work with composer Louis Hirsch during this time, and would score his biggest success so far in 1917 with Going Up. This was his first attempt at a musical comedy, as opposed to an American operetta.
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A horo was around 1.8 m (6 ft) long and made from several strips of cloth sewn together with a fringe on the top and bottom edges. The cloth strips were sewn together and formed into a sort of bag which would fill with air like a balloon when the wearer was riding a horse.Transactions of the Asiatic Society of Japan, Asiatic Society of Japan, The Society, 1881 p.275–279 A light framework of wicker, bamboo or whale bone known as an oikago, similar to a crinoline, which is said to have been invented by Hatakeyama Masanaga during the Ōnin War (1467–1477),Secrets of the samurai: a survey of the martial arts of feudal Japan, Oscar Ratti, Adele Westbrook, Tuttle Publishing, 1991 p.
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Phallus indusiatus, commonly called the bamboo mushrooms, bamboo pith, long net stinkhorn, crinoline stinkhorn or veiled lady, is a fungus in the family Phallaceae, or stinkhorns. It has a cosmopolitan distribution in tropical areas, and is found in southern Asia, Africa, the Americas, and Australia, where it grows in woodlands and gardens in rich soil and well-rotted woody material. The fruit body of the fungus is characterised by a conical to bell- shaped cap on a stalk and a delicate lacy "skirt", or indusium, that hangs from beneath the cap and reaches nearly to the ground. First described scientifically in 1798 by French botanist Étienne Pierre Ventenat, the species has often been referred to a separate genus Dictyophora along with other Phallus species featuring an indusium.
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The Times, Thursday, Aug 28, 1851; pg. 7; Issue 20892; col B: (A report from the Caledonian Mercury of two women appearing in Edinburgh in reformed dress)'BLOOMERISM IN EDINBURGH:...The singular spectacle thus presented attracted considerable attention even in the retired quarter of the town where it was witnessed, and comments, characterized by freedom more than politeness, were now and again made by urchins who followed the unblushing Bloomers...we learn that the ladies are Americans;...’ The more conservative of society protested that women had ‘lost the mystery and attractiveness as they discarded their flowing robes.”"Women's Clothes and Women's Right", Robert E. Riegel, American Quarterly, 15 (1963):393 Amelia Bloomer herself dropped the fashion in 1859, saying that a new invention, the crinoline, was a sufficient reform that she could return to conventional dress.
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Her mother hosted a literary salon, and Knös was raised in a cultivated but extremely sheltered environment in a home "where they, surrounded by flowers and paintings, lived a life which was only when necessary allowed to take part in reality".Thekla L A Knös, urn:sbl:11676, Svenskt biografiskt lexikon (art av Gösta Lundström), hämtad 2015-11-08. Thekla Knös was described as serious and cultivated, but sheltered and ignorant of all practical necessities of life, nervous and depressive, witty and entertaining but oversensitive and mentally fragile. She had many friends among the Swedish cultural elite, notably Fredrika Bremer and Pontus Wikner, and was described as a devoted friend and confidante "who diminished herself in overflowing compassion", and reportedly, she refused to wear the fashionable crinoline because she did not wish to take so much space in the world.
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Elias Gaucher was a prolific printer and publisher of clandestine erotica who worked out of the Malakoff and Vanves communes in the southwestern suburbs of Paris, France, about 3 miles from the centre of the City. He primarily reprinted or pirated the books of other publishers, but is best known today as the original publisher of Les Exploits d'une Jeune Don Juan (1905), Guillaume Apollinaire's translation of a German erotic work called Kindergeilheit. Geständnisse eines Knaben (Berlin, 1900), and Apollinaire's surrealist masterpiece Les Onze mille verges (c. 1907). Gaucher's generally accepted period of activity was during the years immediately preceding the outbreak of World War I. However, in his Memoirs of Montparnasse, which is set in the late 1920s, the Canadian poet John Glassco tells of having a book called Contes en crinoline published by a 'monsieur Gaucher,' which raises the possibility that Gaucher was in business for longer than has been previously thought.
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Lotta Linthicum had a long career on the stage,"Miss Lotta Linthicum, an Actress of Prominence and Artistic Ability" Broadway Weekly (March 10, 1904): 10. from the 1890s to the 1930s, mainiy in London, Montreal, and New York. Broadway appearances by Lotta Linthicum included roles in Love Finds the Way (1898), The Royal Box (1898), Lady Rose's Daughter (1903), The Deserters (1910), Frou-Frou (1912), Cheer Up (1912-1913), A Tailor-Made Man (1917-1918, 1929), The Little Whopper (1919-1920), Blue Eyes (1921), Icebound (1923), The Shelf (1926), Piggy (1927), The Wild Man of Borneo (1927), Atlas and Eva (1928), Skyrocket (1929), Nice Women (1929), She Lived Next to the Firehouse (1931), and Papavert (1931-1932). She was also seen in other shows, including The Sign of the Cross (1896), Weather-Beaten Benson (1904), Skipper & Co. (1911) Madame Sherry (1913), The Crinoline Girl (1914), Don't Do It Dodo (1936), and the suffrage production A Pageant of Protests.
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Kay Nielsen was born in Copenhagen into an artistic family; both of his parents were actors - Nielsen's father, Martinus Nielsen, was the director of Dagmarteater and his mother, Oda Nielsen, was one of the most celebrated actresses of her time, both at the Royal Danish Theater and at the Dagmarteater. Kay Nielsen studied art in Paris at Académie Julian and Académie Colarossi from 1904 to 1911, and then lived in England from 1911 to 1916. He received his first English commission from Hodder and Stoughton to illustrate a collection of fairy tales, providing 24 colour plates and more than 15 monotone illustrations for In Powder and Crinoline, Fairy Tales Retold by Sir Arthur Quiller-Couch in 1913. In the same year, Nielsen was also commissioned by The Illustrated London News to produce a set of four illustrations to accompany the tales of Charles Perrault; Nielsen's illustrations for 'Sleeping Beauty', 'Puss in Boots', 'Cinderella' and 'Bluebeard' were published in the 1913 Christmas Edition.
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1868 illustration claiming to show a 16th-century steel corset-cover Although surviving metal bodices are usually dated to the late 16th and early 17th century, Steele has stated that some of the more extreme and elaborate examples are fakes created from the 19th century onwards to cater to fetishistic "fantasies about women imprisoned in metal corsets." For example, Herbert Norris claimed in Tudor Costume and Fashion (1938) that a misbehaving wife would be locked into a metal corset by her husband until she promised to behave. One such iron corset, with a 14-inch waist, was acquired by the FIT Museum as dating from 1580–1600, but is now considered to be a forgery from the turn of the 19th and 20th centuries. Steele noted suspicious similarities between this corset and an illustration first published in 1868 in The Corset and the Crinoline, a "fetishistic" book claiming to offer a historical overview of fashion, and draws parallels between such corsets and fake medieval chastity belts.
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A critic from the Sydney Morning Herald said that "while free use is made of a love romance to point a moral and adorn a tale, the most realistic of the scenes are those showing the rising of the miners on the Ballarat goldfield of 1854 and the fierce fight behind the stockade." The Referee called the film: > The first historical photo play produced in Sydney, and the result is very > creditable. Mr. Arthur Wright... has weaved in a story of love and > adventure, and has done the work very well. The play is full of life, and, > considering the large number of people who figure in the action > simultaneously, the 'staging' is excellent and the acting very > satisfactory... One of the most striking features of the film is the > faithful presentation of dress, goldfields, and life generally as they were > 60 years ago, in the era of the top hat, the crinoline, the Wellington boot, > and the Crimean shirt.
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However, as he produces his gun, Nakomuri points his own special lethal camera at the Assassin and the two shoot each other dead. Otto is now alone. He throws the dog out as a distraction, and points his sword at Annie's throat demanding to have the map, whereupon Bruce tells Otto that the map is hidden in a locket on the Duchess's dog's collar. As day breaks, Otto runs out of the hotel front door after the dog, which runs across the sunny street onto the movie studio lot where it, Otto, and the pursuing crowd of Munchkin actors disrupt sound stages shooting scenes for a western, Gone With The Wind (Otto joins the dog under Scarlett's crinoline and an off-camera Clark Gable tells the director he should keep it in the picture), then Otto gets the locket and tries to get away in a vintage bus, and Rollo chases him with a horse-drawn carriage.
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Royal Mourning dictated black, and shades of mauve, which meant that all the clothes utilising colour for the planned June visit had to be re-made and Hartnell's work-rooms worked long hours to create a new wardrobe in white, which Hartnell remembered had a precedent in British Royal Mourning and was not unknown for a younger Queen. Hartnell was decorated by the French government and his friend Christian Dior, creator of the full-skirted post-war New Look, was not immune to the influence and romance of the look. He publicly stated that whenever he thought of beautiful clothes, it was of those created by Hartnell for the 1938 State Visit, which he viewed as a young aspirant in the fashion world. The crinoline fashion for evening wear influenced fashion internationally and French designers were not slow to take up the influence of the Scottish-born Queen and the many kilted Scots soldiers in Paris for the State Visit; day clothes featuring plaids or tartans were evident in the next seasons collections of many Parisian designers.
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The dress was to be a historic masterpiece befitting the occasion, consequently one that would stand out. Like her bridal gown, the costume was designed by Norman Hartnell. Hartnell proposed at least eight different designs; the first, very simple, similar to that worn by Queen Victoria at her Coronation; the second, a modern slim-fitting sheath gown, embroidered in gold; the third, a crinoline style dress of white satin, silver tissue and crusty silver lace; the fourth, white satin embroidered with Madonna and arum lilies and encrusted with pendant pearls; the fifth, a colourful design of violets, roses and wheat, the sixth, white satin with gold, silver and copper embroideries featuring branches of oak leaves with acorns; the seventh, the Tudor Rose of England, appliqued in gold tissue against white satin; and the eighth, similar to the seventh, but incorporating the floral emblems of Great Britain and the Commonwealth. The Queen favoured the last option if Hartnell introduced some colour and made some adjustments; a ninth design was then drawn up and presented to Elizabeth at Sandringham.
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