1856 - 1869
CRINOLINES
The new crinoline frame provided relief from wearing multi-layered petticoats, but its buoyancy meant that long cotton drawers were now essential under linens.
In the 1860s an oval frame shape evolved and box-pleated skirts gave way to gored panels, which provided a smoother fit over the frame.
Bodices and skirts were often separate items, allowing alternate styles of bodice, and front-closure for convenience.
With the availability of domestic sewing machines home dressmaking increased, as did the use of copious trimmings.
Large frames were abandoned after 1867, then crinolettes and bustle pads took over.
CAGED IN
Putting a dress over a crinoline frame required assistance.
A linen chemise, corset, and open drawers with petticoat were worn under a watch-spring steel and tape frame.
The dress was then lowered over the head.
WOOL AND SILK WEAVES
The range of materials and complex patterning available to women by 1860 was extraordinary.
The textile industry in Britain vied with Indian manufacturers to satisfy in creasing demand and changing tastes.
Edinburgh, Crayford in Essex, Norwich, and later Paisley produced wool shawls.
1856 - 1869
克里諾林裙襯
新的克里諾林用多層次里襯提供舒適感，但從它的蓬度上來看，一條長的棉質(zhì)打底褲是非常有必要的。
十九世紀(jì)六十年代，一種橢圓形的架構(gòu)形狀得到發(fā)展，箱式打褶裙讓位給了三角形切面，從而提供了一種更平滑的架構(gòu)輪廓。
上身與裙子通常是分開的，可以允許輪換搭配，為了方便開口門襟在前面。
隨著家用縫紉機普及，在家做衣服的人數(shù)開始增加，并大量使用裝飾花邊。
大群襯在1867年后不再使用，取而代之的是? 然后克里諾雷提裙襯和臀墊。
進入裙籠
將裙子穿在crinoline外是需要有人幫助的。
一層亞麻襯里，然后是緊身胸衣，以及帶有襯墊的多層次襯里都穿在鋼制彈簧與帶狀框架里面。
外裙從頭上套下來。
羊毛與絲織物
1860年女性服裝對材料與復(fù)雜圖案的使用范圍已經(jīng)非常廣泛。
英國紡織業(yè)與印度制造商合作，滿足日益增長的需求和品位變化。
愛丁堡，埃塞克斯的克雷福德，諾維奇以及晚些時候的佩斯利盛產(chǎn)羊毛披肩。
