Paper #1 Cage Crinoline Fashion Plate 1860 PDF

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Paper #1 Cage Crinoline Fashion Plate 1860...

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February 7, 2018 TMD 240 PAPER 1 Cage Crinoline Fashion Plate 1860 Fashion is constantly changing and fashion plates were a major component to one’s style in regards to an individual’s social acceptance. This was determined by others in regards to being up to date with the certain fashion plates popular within that time period which insisted that one was wealthy or not. Fashion plates in the 1860’s would depict who belongs within the higher class. A fashion plate can be considered with one’s personal identity with one’s individual dresses rather than what their attributes represent to others. (Nevinson pg. 1). In the 1860s fashion plates were the key in suggesting ones belonging in society and clothing had a language of its own. Certain fashions during this time that were being worn by individuals gave others the perception of one’s economic belonging. (Yan pg. 751). In todays fashion we have models that represent certain styles rather than painted photos of individuals whom didn’t hold a strong title in that specific era. Todays fashion is focused on more than just one specific fashion that is worn by many or not worn by many. Fashions today don’t specifically give others the perception with one article of clothing to determine if you were wealthy or not. The fashion plate from the costume collection that I have been assigned is the Les Modes cage crinoline or also known as the hoop skirt. The publication name for the fashion plate being shown is Les Modes Parisiennes, it shows these huge cages which were worn by many women around the 1860’s. The style that is depicted within the Les Modes crinoline cage skirt that was developed in 1856 was made from hoops of whalebone that was able to increase the skirt size. Increased skirt size was very desirable as well as the extravagant ruffles combined with layers of fabric that made these crinoline cage skirts a fashion plate. The sleeves of the dress paired with

the crinoline cage were puffed, short, and wide that resembled a bell sleeve with the extra fabric underneath the shoulder part of the sleeve to give it the extra puff that was desired (University of Washington). The cage crinoline was a very fashionable statement for women in the 1860’s it ensured that the skirt was to have fullness and for the waist to appear smaller which many women strived to have. The Victorian period began in 1827 and ended in 1901, many women in this time period had a new profound desire to reshape their bodies by using the latest up to date fashion to express their femininity. It is said that Victorian women must have an appearance of beautiful and captivating which the cage crinoline was known for and gave them the slimming of the waist which made them feel beautiful (Yan pg. 754). This period of the cage crinoline hoop skirt was known as the hoop of the Louis XVI or the Queen Elizabeth period (University of Washington). During this fashion plate time period women wearing these crinoline cages brought up a lot of discussion to the audience within their surroundings. These whalebone cages were no glamorous thing to have on your body with the way it effected how it sat on woman’s hips. Crinoline cages were extremely uncomfortable showed men the extremes women went through everyday to present their figure as alluring as they could towards them. Wearing these huge cages to show their small waists and how now body image portrayals was now apart of this fashion plate involving the crinoline cages. The Victorian time period started trending fashions with their fashion plates recorded back then. Even today we still have fashions that are trending but don’t give others the perception of what social class you fall in as much as it did in the Victorian era. It is important for us to look back on fashion plates and see how all of the styles developed decades and decades ago. Work Cited

Nevinson, John L. 1967. Origin and Early History of the Fashion Plate. Smithsonian Press: Washington, D.C http://www.gutenberg.org/files/34472/34472h/34472-h.htm This eBook provided examples of fashion plates in general and tells us how fashion plates were perceived and existed in the 1860s. Yan, Shi-Chuan. “(Ad) Dressing Women: Fashion and Body Image in Punch, 18501860s” Taylor & Francis Group Women’s Studies, 2014 43:770-773 This article explains the crinoline skirt in the 1860’s with women and how they were representing themselves to others. It was showing how their body image was being made fun of in a cartoon and showed us how women dressed in the 1860’s with regards to the feelings other others around them towards their fashion choices. Disregarding most of the humorous aspects of this article I got the information I needed towards my fashion plate in particular.

University Libraries. “Fashion Plate Collection.” 2002. University of Washington. https://content.lib.washington.edu/about.html This article gave me the information of the whalebone being made as the hoop for the crinoline and what the dress specific features were. And how the this period of the cage crinoline hoop skirt was known as the Queen Elizabeth or the hoop of the Louis XVI period,...