Crinoline Skirt

Crinoline Skirt

Can I add crinoline to my wedding dress?

I'm considering adding a little crinoline to my wedding dress to make the skirt have a more "full" look. Is this possible, and something my seamstress could do without ruining the quality of the dress? Any suggestions wuld be appreciated.

You probably could do it, but it would be easier to just buy a bridal slip. It's a slip with a bunch of crinoline in it to add fullness to your dress. Many bridal shops also rent these if you don't want to buy one.

1850s in Fashion

1850s fashion in European and European-influenced clothing is characterized by an increase in the width of women's skirts supported by crinolines or hoops, and the beginnings of dress reform. For men, the introduction of the sack coat as informal daywear and of outfits with matching coat, waistcoat and trousers marked the beginnings of the modern business suit.

cheap fur bootsIn the 1850s, the domed skirts of the 1840s continued to expand. Skirts were made fuller by means of flounces (deep ruffles), usually in tiers of three, gathered tightly at the top and stiffened with horsehair braid at the bottom.

Early in the decade, bodices of day dresses featured panels over the shoulder that were gathered into a blunt point at the slightly dropped waist. These bodices generally fastened in back by means of hooks and eyes, but a new fashion for a [jacket] bodice appeared as well, buttoned in front and worn over a chemisette. 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 chrochet-work were worn with day dresses, sometimes with a ribbon bow.

Evening dresses were very low-necked, falling off the shoulders, 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. Pantalettes were essential under this new fashion for modesty's sake.

fiberglass filter materialsSpecial dress fabrics were printed à la disposition, with a small figured print over most of the fabric and an elaborate coordinating border print down one selvage. Dresses were made up so the border print decorated the flounces and parts of the bodice or sleeves.

Cape-like jackets were worn over the very wide skirts. Another fashionable outer garment was an Indian shawl or one woven in Paisley, Renfrewshire in a paisley pattern in imitation of Indian styles. Hooded cloaks were also worn.

Riding habits had fitted jackets with tight sleeves, worn over a collared shirt or (more often) chemisette. They were worn with long skirts and mannish top hats.

Hair was dressed simply, in a bun or wound braid at the back, with the sides puffed out over the ears or with clusters of curls to either side in imitation of early 17th century fashions. Deep bonnets with wide ribbon bows tied under the chin were worn outdoors.

The indoor cap became little more than a lace and ribbon frill worn on the back of the head.

1851 marked the birth of the Victorian dress reform movement, when New England temperance activist Libby Miller adopted what she considered a more rational costume: loose trousers gathered at the ankles, topped by a short dress or skirt and vest. The style was promoted by editor Amelia Bloomer and was immediately christened a Bloomer suit by the press. Despite its practicality [3], the Bloomer suit was the subject of much ridicule in the press and had little impact on mainstream fashion.

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Crinoline Skirt

• Petticoat Crinoline Skirt
• Crinoline Skirt Slip

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