Without a doubt, in the world of feminine underclothing, nothing has ever quite compared with that of the Victorian Era.  It was fancy, frilly, lacey, and truly outlandish! But, it made a lady, “a lady”! The ladies wore “oodles” of flounces beneath their outer attire. This consisted of long lace-trimmed white muslin “drawers”, a flannel petticoat in winter, the petticoat of calico, quilted and reinforced with whalebone, and several starched, checked, striped or white muslin petticoats with more flounces. The outer petticoat was invariably made with tucks and usually embroidered. All this was worn with a tightly laced corset, the object being with all of this “fluff and flounce”, to make a lady’s waist appear to be unbelievably small. (Please read our information about the corset). One ponders, “why this entire troublesome under-dressing”? She wouldn’t have dared to show off any of it---no matter how pretty! Anyway, that is the way it was in the early eighteen hundreds, and it was another strange phenomenon. Not to mention, that all of this “distinguished garb” was cumbersome, probably became quite “steamy” in the summertime and was dangerously harsh for a lady’s health!

Since all things change, perhaps the ladies would soon have all of this paraphernalia banished! But, alas---next came the crinoline, which made its appearance in the early 1840’s. The crinoline, with it’s excessively large skirt, now made the waist appear comparatively small and as a result, corsets could be loosened if the lady’s vanity would allow it. That was one good thing. But so far, we can easily see how restrictive and obviously uncomfortable the ladies had it during the last couple of centuries. As for the crinoline, it was a band or braid of horsehair, crin being the French word or horsehair.  It was a petticoat of sorts, corded and lined with horsehair and finished with braid straw at the hem. How about that for femininity! One wonders if the ladies kept plenty of “itching cream” on hand in the dressing table drawer.

This reminds us of the old adage “a woman has to suffer to be beautiful” does it not, ladies? So, now we will delve into the next aspect of development, which is the CRINOLINE (CAGE).

These are truly two “outlandish” features of Victorian Dressing. It is said that the improvement in crinolines was the cage americaine .Yes, it did replace the many petticoats and crinoline skirt. However, this cage like frame made of steel and/or whalebone hoops quite often would measure ten yards around and it was still called a crinoline. It was patented in 1856 and was touted as a revolutionary development.

Like so many fashion influences, the crinoline cage was made in France, and was soon adopted in England and America. They were soon mass-produced commercially and not nearly as expensive as the lady’s previous undergarments. The reality was that, although the “new” crinoline did free the lady’s legs of the bogging layers of “frou-frou” petticoats, it was often dangerous. It could have easily caught fire from candles, fire grates or tossed “smoke pins” from the gentlemen! Sudden movement was out of the question. The bell-shaped skirt took on the shape of a cone, with steel hoops only from the knees down. But, the lady was smooth and flat over the hips...wasn’t that worth it? And, they were humiliating at times when the wind gusted or when the lady attempted to be seated. It was not uncommon for a crinolined skirt to balloon up in the front if the lady wasn’t careful. But, after all, it was the fashion, and they were relatively inexpensive to buy. Everything has its time and place. The decline of the crinoline began in the 1860’s.

It was now time to move attention to the back of the lady’s skirting! In the late 1860’s, 1869 to be exact the BUSTLE or TOURNURE replaced the crinoline. Here’s one for the books, “The bustle was really another form of the crinoline, but with the rows of whalebone running only from the sides round the back”~~! The wide flair at the bottom of the skirt disappeared, but the bunched-up polonaise or tunic in the back of the knees created the “bustle” silhouette. This grossly accentuated the derriere and was just as awkward to maneuver as the crinoline cage. In addition, women returned to the stiffly starched muslin petticoats. Talk about adding “insult to injury”! Yet, the bustle, or “dress improver”, as it was called, was a fashion statement and one of the most extraordinary inventions in the history of fashion. In 1887, Lillie Langtry lent her name to a bustle that had springs so that it folded up as the lady sat down. Finally, now, the lady could assume a resting position in the chair. And, viola! It was even said to have sprung back to its normal position when the lady rose once again. This “improver” was attached just above the hips and was fastened with strong material around the waist. At the height of their popularity, they extended downward to fall just above the back of the knees and expanded horizontally. Once again cinching corsets were employed, as well. But, all this is not too much to ask of a lady of high society. Anything that would differentiate one from the commonplace and ordinary “others” was as good as done. Its been said that “all good things must cease”...and the bustle, by 1890, had “seen its day”.

In summation, ladies, “count your blessings”!

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