Wikiversity:Uploading files

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|text= '''To upload files you must be logged in, and your account must be [[Wikiversity:Autoconfirmed users|autoconfirmed]] (an account that is at least 4 days old and has more than 10 edits to Wikiversity) or [[Wikiversity:Confirmed users|confirmed]].''' If you are not an autoconfirmed or confirmed user, please request an upload at [[Wikiversity:Request custodian action]].
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This page outlines what you should know about '''uploading files''' for use at Wikiversity. [[Wiki]] technology originated as a tool for collaborative editing of text. The [[w:MediaWiki|MediaWiki]] software used at Wikiversity allows all participants to upload media files. Once uploaded, links to those files can be added to Wikiversity pages, thus allowing the incorporation of still images, sounds, video and other media into Wikiversity [[learning resource]]s. All media files that support the educational mission of Wikiversity are welcome, but there are important restrictions on the use of media files. If you do not pay attention to these restrictions then it is likely that files you upload to Wikiversity will be deleted. This page describes the types of media files that can be uploaded to Wikiversity and explains how to upload files at [[Special:Upload]].

Please note that '''most digital media files you might find on the Internet are copyrighted and not appropriate for uploading to Wikiversity'''.   If you did not create the media file or are unable or unwilling to verify its copyright status, '''do not upload the media file'''.  For hints on how to find images appropriate for uploading, see the [[w:Wikipedia:finding images tutorial|finding images tutorial]].  
[[Image:Special upload form.png|thumb|right|400px|'''Figure 1'''. The media file upload form at [[Special:Upload]]. See [[#How to upload media files|below]] for details on how to use this form.]]
== Checklist for media file uploading ==
Below this brief checklist to follow when you upload a media file to Wikiversity using the [[Special:Upload]] page. '''If you do not know the copyright status of a media file or if you do not know that it is available under a &quot;free&quot; license, then do not upload the file'''. Additional details are in other sections, below, on this page.

#'''Licensing'''. The text contents of the Wikiversity website are licensed under the [http://creativecommons.org/licenses/by-sa/3.0/ Creative Commons CC-BY-SA 3.0 License] and the [[Wikiversity:GNU Free Documentation License|GNU Free Documentation License]]. Media files that are uploaded to Wikiversity must be compatible with the [[w:Copyleft|copyleft]] nature of Wikiversity. You must explain the licensing of each uploaded file:
##use the &quot;Licensing&quot; drop-down menu to indicate a license for each file uploaded at [[Special:Upload]]
##explain which license applies to the newly uploaded media file in the &quot;Summary&quot; field at [[Special:Upload]]. If you are familiar with templates, you can use one of the templates at [[:Category:Document copyright tags]]; see [[Wikiversity:License tags]] and [[m:Help:Template|Help:Template]] for additional information about templates. These templates can be used:
###[[Template:Cc-by-sa-3.0]]
###[[Template:PD]]
###[[Template:Wikiversity-screenshot]] - screenshots of Wikiversity
###[[Template:Software-screenshot]] - other screenshots
#'''Source'''. In the &quot;Summary&quot; field at [[Special:Upload]], explain where the media file came from, such as: scanning a paper document, or provide the [[w:URL|URL]], or a name/alias and method of contacting the person who created the media file. 
##'''copyright status'''. If someone other than you created the media file that you want to upload, be sure that you provide information about the [[#Copyright status|copyright status]] of the file.

==Licenses==
Before you upload a media file, make sure that either: 
*You own the rights to the media file (usually meaning that you created the image yourself).
*You can prove that the copyright holder has licensed the media file under a [[w:free license|free license]] that is compatible with the [[Wikiversity:GNU Free Documentation License|GFDL]].
*You can prove that the media file is in the [[w:public domain|public domain]].
*You believe, and state, a [[w:Fair use|fair use rationale]] for your use of the media file.  

==Copyright status==
Always note the media file's copyright status and provide specific details about its origin. Use the '''Summary''' field on the [[Special:Upload]] page to provide this information. The recommended media file summary contains some or all of the following:&lt;br /&gt;&lt;br /&gt;
'''Description:''' The subject of the media file &lt;br /&gt;
'''Source:''' The copyright holder of the media file or URL of the web page the media file came from &lt;br /&gt;
'''Date:''' Date the media file was created. The more exact, the better &lt;br /&gt;
'''Location:''' Where the media file was created. The more exact the better &lt;br /&gt;
'''Author:''' The media file creator, especially if different from the copyright holder &lt;br /&gt;
'''Permission:''' Who or what law or policy gives permission to post on Wikipedia with the selected media file license

A convenient way to add this information is to copy this text:

 &lt;nowiki&gt;{{&lt;/nowiki&gt;Information
 |Description=
 |Source=
 |Date=
 |Author=
 |Permission=
 |other_versions=
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

into the &quot;Summary&quot; field at [[Special:Upload]] and then add your information after each &quot;=&quot; sign.

===User-created media files===

Wikipedia encourages users to upload their own images, but all user-created media files must be released under a [[#Free licenses|free license]] (such as an acceptable [[w:Creative Commons Licenses|Creative Commons license]]) or be released into the [[w:public domain|public domain]] (no license). If you are licensing your own media file, it is often good practice to multi-license your media file under both GFDL and a compatible Creative Commons license.

===Free licenses===

For a list of possible licenses which are considered &quot;free enough&quot; for Wikimedia projects, see [[w:Wikipedia:Image copyright tags]]. Licenses which restrict the use of the media to non-profit or educational purposes only (i.e. noncommercial use only), or are given permission to ''only'' appear on Wikiversity, are ''not'' free enough and media files licensed in a non-free fashion will be deleted after you upload them (so do not bother to upload such media files). Sources of free images can be found at [[w:Wikipedia:Free image resources|Free image resources]]. In short, Wikiversity media files should be as &quot;free&quot; as Wikiversity's text content &amp;mdash; both to keep Wikiversity's own legal status secure as well as to allow for as much re-use of Wikiversity content as possible.

'''Note''': feel free to [[link]] to [[learning resource]]s such as materials at other websites that is licensed as &quot;non-commercial re-use only&quot;.

===Public domain===

Under United States copyright law, all images '''published''' ''before'' January 1, 1923 in the United States are now in the [[w:Wikipedia:public domain|public domain]], but this does not apply to images that were created ''prior'' to 1923 and '''published''' in 1923 or later.  The year 1923 has [[w:Sonny Bono Copyright Term Extension Act|special significance]] and this date will not roll forward before 2019. 

===Fair use considerations===
Some usage of copyrighted materials without permission of the copyright holder can qualify as [[fair use]] in the United States (but not in most other jurisdictions). Improper claims of fair use constitute [[w:copyright infringement|copyright infringement]] and are illegal. '''See also''': [[meta:Avoid copyright paranoia|Avoid copyright paranoia]].

The following section of this page serves as the '''Exemption Doctrine Policy''' for the English language Wikiversity. For related  information, see the [[foundation:Resolution:Licensing_policy|Wikimedia Foundation licensing policy]]. To learn more, see the [[Fair use]] learning project.

====Exemption Doctrine Policy====
{{Policy|WV:EDP}}
[[w:United States copyright law|Government regulation of copyright]] in the United States exists to promote &quot;Science and useful Arts&quot;. There is a long history of defining special considerations for the use of copyrighted material in educational contexts.  The primary goal of this policy is to create a [[fair use]] policy that is suited to the education-oriented mission of Wikiversity. Wikiversity permits a limited amount of fair use content under strictly defined circumstances that are deliberately intended to respect [[w:Fair use|United States fair use law]]. Wikiversity can include &quot;fair use content&quot; if '''all''' of the following criteria are met. 

#Copyrighted works can be used at Wikiversity under the [[w:Fair use|fair use doctrine]] only if such use has an obvious educational value that contributes directly to the Wikiversity mission. Fair use content is used only if its presence can significantly increase understanding of the topic and if its omission would be detrimental to that understanding.
#Wikiversity content that is used under the [[w:Fair use|fair use doctrine]] must have no [[w:Free content|free]] equivalent. Wikiversity content that is used under the fair use doctrine should, when possible, be replaced with equivalent content that is available under a [[w:copyleft|copyleft]] license or that exists in the [[w:Public domain|public domain]]. 
#Wikiversity content that is used under the fair use doctrine must not decrease the market value of any copyrighted works. 
#Requests from copyright holders that copyrighted content be removed from Wikiversity are honored. If copyright holders decide that they do not accept a fair use rationale used at Wikiversity, then the copyrighted material cannot be used at Wikiversity.
#Wikiversity content that is used under the fair use doctrine is used as little as possible and only in order to attain a specific educational goal. Multiple items are not used if one will suffice. An entire copyrighted work is not used if a portion will suffice.  Low- rather than high-resolution/fidelity/sample length is used when possible. Even low-resolution/fidelity or short samples cannot be used under the fair use doctrine at Wikiversity if such use allows for piracy or other re-use that will decrease the market value of the copyrighted work. 
#Wikiversity content that is used under the fair use doctrine must be properly attributed to the copyright holder.
#Fair use content is only allowed in [[learning resource]]s in the main [[Wikiversity:Namespace|Namespace]] and on media file description pages in the image namespace. If a media file containing copyrighted content is used, the image description page must contain a description of the intended educational use of the media file.
#Media files containing copyrighted material that do not comply with the intent and spirit of this policy can be deleted by [[Wikiversity:Custodianship|custodians]] at any time. Text on Wikiversity pages that quotes a copyrighted work and that does not satisfy the spirit of this policy can be removed by any editor at any time.

&lt;strong&gt;Note: any &quot;fair use&quot; at Wikiversity must conform to [[Foundation:Resolution:Licensing policy]]&lt;/strong&gt;

== Deleting media files ==

=== Identification of uploaded files with problems ===
Before deleting a media file that lacks adequate source/copyright/licensing information, concerned Wikiversity participants and [[Wikiversity:Custodianship|Custodians]] should try to contact (through their talk page) the user who uploaded the media file, telling them of the specific source/copyright/licensing conce--[[Special:Contributions/203.128.20.117|203.128.20.117]] ([[User talk:203.128.20.117|discuss]]) 03:07, 13 June 2025 (UTC)rns. A good goal is to try to resolve the issue by communication.
er4t65ey467rh
ewdtge4dwrrwa3tgyefwaqtydgqt2cvFETQFERH2QTTCDFRYWAR UFTWFYSHGRTHG GHDATQE DQf

Wikiversity may use a bot for leaving a message on user talk pages when users have uploaded a file but no licensing template has been used. The approved message template that the bot will place on the page of the uploaded files is [[Template:Nld]]. The message left on user talk pages is generated by [[Template:Image copyright]]. This talk page message  provides links that help the uploader understand the problem and that helps the uploader and the community fix problems with the uploaded file(s).

=== Proposed deletion ===
Following the &quot;Template:Image copyright&quot; message, if the person who uploaded a file fails to describe the source/copyright/licensing of media files uploaded to Wikiversity, and no other user satisfies the requirements of licensing policy, the file may be proposed for deletion, per [[Wikiversity:Deletion policy]] (using [[Template:delete|speedy deletion]] for files with no apparent educational usage, or [[Template:Proposed deletion|proposed deletion]] where files may have a possible educational use). In the event of controversy over deletion, a file may be listed at [[Wikiversity:Requests for Deletion]].

The normal delay in proposed deletion shall not apply to any file which clearly violates copyright, where a fair use or permitted use rationale could not reasonably apply; such files may be speedy deleted,

== Media file titles and file names ==
Descriptive file names are useful. A map of Africa could be called &quot;Africa.png&quot;, but quite likely more maps of Africa will be useful in Wikipedia, so it is good to be more specific, e.g. &quot;Africa political map.yourinitials.png&quot;, or &quot;Africa political map with red borders.png&quot;. 

== Media file formats ==
See: [[w:Wikipedia:Media help|Wikipedia:Media help]] and [[commons:Commons:File_types|Wikimedia Commons]] for a general introduction to media file use in WikiMedia projects. 

*Drawings, icons, political maps, flags and other such images are preferably uploaded in [[w:Scalable Vector Graphics|SVG]] format as vector images. Images with large, simple, and continuous blocks of color which are not available as SVG should be in [[w:PNG|PNG]] format.
*Drawings, icons, political maps, flags and other such images ''[[w:fair use|claimed as fair use]]'' should be in PNG format.
*Photos and images with photo-like color depth should be in [[w:PNG|PNG]] format.
*Inline animations should be in animated [[w:GIF|GIF]] format.
*Audio should be in [[w:Ogg|ogg]]/[[w:Vorbis|Vorbis]] format. See [[w:Wikipedia:Media help (Ogg)]].
*Video should be in [[w:Ogg|ogg]]/[[w:Theora|Theora]] format. See [[w:Wikipedia:Media help (Ogg)]].
*Screenshots should be in [[w:PNG|PNG]] or [[w:PNG|PNG]] format, depending on the photorealism/color depth of the subject.

Occasionally a [[w:PDF|PDF]] file is uploaded. Source documents should be uploaded to [[w:Wikisource|Wikisource]] instead.

See also: [[w:Wikipedia:Preparing images for upload|Wikipedia:Preparing images for upload]]

== Size ==

===Uploaded file size===

Uploaded files must be smaller than 20 [[w:megabyte|megabytes]]. The MediaWiki software Wikiversity uses can resize images automatically, so it is rarely necessary to resize images yourself.  

==Free and open-source software==
These [[w:free software|free]] and [[w:open source|open source]] software packages have been recommended by Wikipedians for use in image and media manipulation:
*The [[GIMP]] [http://www.gimp.org/] &amp;mdash; Raster image editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:Inkscape|Inkscape]] [http://www.inkscape.org/] &amp;mdash; [[w:Scalable Vector Graphics|SVG]] vector image editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:ImageMagick|ImageMagick]] [http://www.imagemagick.org/] &amp;mdash; Image conversion and transformation suite. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:GraphicsMagick|GraphicsMagick]] [http://www.graphicsmagick.org/] &amp;mdash; A clone of ImageMagick emphasizing consistency of the programming API and end-user command-line options. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:Audacity_(audio_editor) | Audacity]] [http://audacity.sourceforge.net/] &amp;mdash; General purpose sound editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])

==How to upload media files==
[[Image:License dropdown menu.png|thumb|right|400px|'''Figure 2'''. The drop-down menu for licenses at [[Special:Upload]]. See '''Figure 1''', above, for a view of the other fields in the media file upload form.]]
You can upload a media file by using the ''Upload file'' link in the toolbox, which is a link to [[Special:Upload]]. On most browsers, you will see a &quot;Browse...&quot; button, which will bring up your operating system's standard file open dialog. Choosing a file will fill the name of that file into the &quot;Destination filename&quot; field next to the button. You can edit the content of the &quot;Destination filename&quot; field and provide a [[#Media file titles and file names|descriptive name]] for the file.

If [[w:JavaScript|JavaScript]] is not enabled in your user preferences then the destination field is left blank and you must add a file name.

You must also affirm that you are not violating any copyrights by uploading the file. The easiest way to do this is to use [[Template:information]] in the &quot;Summary&quot; field [[#Copyright status|as described above]] and select a license from the drop-down menu. Alternatively, add a license template in the &quot;Summary&quot; field, [[#Checklist for media file uploading|as described above]].

Press the &quot;Upload&quot; button to finish the upload. This may take some time if you have a slow Internet connection.

'''Note''': that as with wiki pages, others may edit or delete your uploads if they think it serves the Wikiversity project, and you may be blocked from uploading if you abuse the system.

'''Note''': When overwriting an image file with a new version, you must refresh your browser's [[w:Web cache|cache]] to see the new image.

'''Note''': Only [[Help:Logging in|logged in]] users can upload files. Once a file is uploaded, other pages can include or link to the file. Uploaded files are given the &quot;Image:&quot; prefix by the system, even if they are not images, and each one has an [[w:Wikipedia:Image description page|image description page]] that can be edited to provide additional information about the media file after it is uploaded.

===Find previously uploaded images===
*To view or search images previously uploaded directly to English Wikipedia, go to the [[Special:Imagelist|list of uploaded images]].  
* Uploads and deletions are logged on the [[Special:Log/upload|upload log]].

== Multiproject upload ==
Please consider uploading language-neutral content to the [[commons:Main Page|Wikimedia Commons]].

It is not possible to use a media file uploaded to the Wikiversity project in another project without re-uploading it. If you want to use (or, if it is likely that others would want to do so) the same media file in more than one Wikimedia Foundation project, you can upload it to [[commons:Main Page|Wikimedia Commons]] and it would become immediately accessible from all Wikimedia projects. Note that Commons only accepts free media (public domain or licensed under a [[w:free license|free license]]). If the media file is [[w:fair use|fair use]], you can't upload it to Commons. For more information see: [[meta:Sharing images across projects]].

==Text files==

Please do not upload plain text (.txt), Microsoft Word (.doc), or text files in other formats.  Instead, please [[Help:Starting a new page|start a new page]] and input the text using standard wiki formatting.  

See also: 
*[[m:MediaWiki file usage]] - Technical storage information
*[[commons:Commons:File_types|instructions at Wikimedia Commons]]; &quot;Some OpenOffice.org formats: SXW (text), SXI (slides), SXC (spreadsheet)&quot; are allowed.

==See also==
*[[Help:Media Files]]
*[[Free content]]
*[[Introduction to Wikiversity scholarship]]
*[[Digital media workshop]]
{{Official policies}}
{{Proposed policies}}

== External links ==
*[[wikimedia:Resolution:Licensing policy|Wikimedia Foundation licensing policy]]
*[[Commons:Commons:How to use Commons multimedia|How to use Commons multimedia]]
*[[w:Wikipedia:Picture tutorial|Picture tutorial]]
*[[w:Wikipedia:Graphics tutorials|Graphics tutorials]]
*[[w:Wikipedia:Public domain image resources|Public domain image resources]]
*[[w:Wikipedia:Media|Media]]
*[[w:Wikipedia:Finding images tutorial|Tutorial on finding images]]
*[[w:Wikipedia:How to create graphs for Wikipedia articles|How to create graphs]]

[[Category:Wikiversity documents]]
[[Category:Wikiversity policy]]</text>
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|text= '''To upload files you must be logged in, and your account must be [[Wikiversity:Autoconfirmed users|autoconfirmed]] (an account that is at least 4 days old and has more than 10 edits to Wikiversity) or [[Wikiversity:Confirmed users|confirmed]].''' If you are not an autoconfirmed or confirmed user, please request an upload at [[Wikiversity:Request custodian action]].
}}
This page outlines what you should know about '''uploading files''' for use at Wikiversity. [[Wiki]] technology originated as a tool for collaborative editing of text. The [[w:MediaWiki|MediaWiki]] software used at Wikiversity allows all participants to upload media files. Once uploaded, links to those files can be added to Wikiversity pages, thus allowing the incorporation of still images, sounds, video and other media into Wikiversity [[learning resource]]s. All media files that support the educational mission of Wikiversity are welcome, but there are important restrictions on the use of media files. If you do not pay attention to these restrictions then it is likely that files you upload to Wikiversity will be deleted. This page describes the types of media files that can be uploaded to Wikiversity and explains how to upload files at [[Special:Upload]].

Please note that '''most digital media files you might find on the Internet are copyrighted and not appropriate for uploading to Wikiversity'''.   If you did not create the media file or are unable or unwilling to verify its copyright status, '''do not upload the media file'''.  For hints on how to find images appropriate for uploading, see the [[w:Wikipedia:finding images tutorial|finding images tutorial]].  
[[Image:Special upload form.png|thumb|right|400px|'''Figure 1'''. The media file upload form at [[Special:Upload]]. See [[#How to upload media files|below]] for details on how to use this form.]]
== Checklist for media file uploading ==
Below this brief checklist to follow when you upload a media file to Wikiversity using the [[Special:Upload]] page. '''If you do not know the copyright status of a media file or if you do not know that it is available under a &quot;free&quot; license, then do not upload the file'''. Additional details are in other sections, below, on this page.

#'''Licensing'''. The text contents of the Wikiversity website are licensed under the [http://creativecommons.org/licenses/by-sa/3.0/ Creative Commons CC-BY-SA 3.0 License] and the [[Wikiversity:GNU Free Documentation License|GNU Free Documentation License]]. Media files that are uploaded to Wikiversity must be compatible with the [[w:Copyleft|copyleft]] nature of Wikiversity. You must explain the licensing of each uploaded file:
##use the &quot;Licensing&quot; drop-down menu to indicate a license for each file uploaded at [[Special:Upload]]
##explain which license applies to the newly uploaded media file in the &quot;Summary&quot; field at [[Special:Upload]]. If you are familiar with templates, you can use one of the templates at [[:Category:Document copyright tags]]; see [[Wikiversity:License tags]] and [[m:Help:Template|Help:Template]] for additional information about templates. These templates can be used:
###[[Template:Cc-by-sa-3.0]]
###[[Template:PD]]
###[[Template:Wikiversity-screenshot]] - screenshots of Wikiversity
###[[Template:Software-screenshot]] - other screenshots
#'''Source'''. In the &quot;Summary&quot; field at [[Special:Upload]], explain where the media file came from, such as: scanning a paper document, or provide the [[w:URL|URL]], or a name/alias and method of contacting the person who created the media file. 
##'''copyright status'''. If someone other than you created the media file that you want to upload, be sure that you provide information about the [[#Copyright status|copyright status]] of the file.

==Licenses==
Before you upload a media file, make sure that either: 
*You own the rights to the media file (usually meaning that you created the image yourself).
*You can prove that the copyright holder has licensed the media file under a [[w:free license|free license]] that is compatible with the [[Wikiversity:GNU Free Documentation License|GFDL]].
*You can prove that the media file is in the [[w:public domain|public domain]].
*You believe, and state, a [[w:Fair use|fair use rationale]] for your use of the media file.  

==Copyright status==
Always note the media file's copyright status and provide specific details about its origin. Use the '''Summary''' field on the [[Special:Upload]] page to provide this information. The recommended media file summary contains some or all of the following:&lt;br /&gt;&lt;br /&gt;
'''Description:''' The subject of the media file &lt;br /&gt;
'''Source:''' The copyright holder of the media file or URL of the web page the media file came from &lt;br /&gt;
'''Date:''' Date the media file was created. The more exact, the better &lt;br /&gt;
'''Location:''' Where the media file was created. The more exact the better &lt;br /&gt;
'''Author:''' The media file creator, especially if different from the copyright holder &lt;br /&gt;
'''Permission:''' Who or what law or policy gives permission to post on Wikipedia with the selected media file license

A convenient way to add this information is to copy this text:

 &lt;nowiki&gt;{{&lt;/nowiki&gt;Information
 |Description=
 |Source=
 |Date=
 |Author=
 |Permission=
 |other_versions=
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

into the &quot;Summary&quot; field at [[Special:Upload]] and then add your information after each &quot;=&quot; sign.

===User-created media files===

Wikipedia encourages users to upload their own images, but all user-created media files must be released under a [[#Free licenses|free license]] (such as an acceptable [[w:Creative Commons Licenses|Creative Commons license]]) or be released into the [[w:public domain|public domain]] (no license). If you are licensing your own media file, it is often good practice to multi-license your media file under both GFDL and a compatible Creative Commons license.

===Free licenses===

For a list of possible licenses which are considered &quot;free enough&quot; for Wikimedia projects, see [[w:Wikipedia:Image copyright tags]]. Licenses which restrict the use of the media to non-profit or educational purposes only (i.e. noncommercial use only), or are given permission to ''only'' appear on Wikiversity, are ''not'' free enough and media files licensed in a non-free fashion will be deleted after you upload them (so do not bother to upload such media files). Sources of free images can be found at [[w:Wikipedia:Free image resources|Free image resources]]. In short, Wikiversity media files should be as &quot;free&quot; as Wikiversity's text content &amp;mdash; both to keep Wikiversity's own legal status secure as well as to allow for as much re-use of Wikiversity content as possible.

'''Note''': feel free to [[link]] to [[learning resource]]s such as materials at other websites that is licensed as &quot;non-commercial re-use only&quot;.

===Public domain===

Under United States copyright law, all images '''published''' ''before'' January 1, 1923 in the United States are now in the [[w:Wikipedia:public domain|public domain]], but this does not apply to images that were created ''prior'' to 1923 and '''published''' in 1923 or later.  The year 1923 has [[w:Sonny Bono Copyright Term Extension Act|special significance]] and this date will not roll forward before 2019. 

===Fair use considerations===
Some usage of copyrighted materials without permission of the copyright holder can qualify as [[fair use]] in the United States (but not in most other jurisdictions). Improper claims of fair use constitute [[w:copyright infringement|copyright infringement]] and are illegal. '''See also''': [[meta:Avoid copyright paranoia|Avoid copyright paranoia]].

The following section of this page serves as the '''Exemption Doctrine Policy''' for the English language Wikiversity. For related  information, see the [[foundation:Resolution:Licensing_policy|Wikimedia Foundation licensing policy]]. To learn more, see the [[Fair use]] learning project.

====Exemption Doctrine Policy====
{{Policy|WV:EDP}}
[[w:United States copyright law|Government regulation of copyright]] in the United States exists to promote &quot;Science and useful Arts&quot;. There is a long history of defining special considerations for the use of copyrighted material in educational contexts.  The primary goal of this policy is to create a [[fair use]] policy that is suited to the education-oriented mission of Wikiversity. Wikiversity permits a limited amount of fair use content under strictly defined circumstances that are deliberately intended to respect [[w:Fair use|United States fair use law]]. Wikiversity can include &quot;fair use content&quot; if '''all''' of the following criteria are met. 

#Copyrighted works can be used at Wikiversity under the [[w:Fair use|fair use doctrine]] only if such use has an obvious educational value that contributes directly to the Wikiversity mission. Fair use content is used only if its presence can significantly increase understanding of the topic and if its omission would be detrimental to that understanding.
#Wikiversity content that is used under the [[w:Fair use|fair use doctrine]] must have no [[w:Free content|free]] equivalent. Wikiversity content that is used under the fair use doctrine should, when possible, be replaced with equivalent content that is available under a [[w:copyleft|copyleft]] license or that exists in the [[w:Public domain|public domain]]. 
#Wikiversity content that is used under the fair use doctrine must not decrease the market value of any copyrighted works. 
#Requests from copyright holders that copyrighted content be removed from Wikiversity are honored. If copyright holders decide that they do not accept a fair use rationale used at Wikiversity, then the copyrighted material cannot be used at Wikiversity.
#Wikiversity content that is used under the fair use doctrine is used as little as possible and only in order to attain a specific educational goal. Multiple items are not used if one will suffice. An entire copyrighted work is not used if a portion will suffice.  Low- rather than high-resolution/fidelity/sample length is used when possible. Even low-resolution/fidelity or short samples cannot be used under the fair use doctrine at Wikiversity if such use allows for piracy or other re-use that will decrease the market value of the copyrighted work. 
#Wikiversity content that is used under the fair use doctrine must be properly attributed to the copyright holder.
#Fair use content is only allowed in [[learning resource]]s in the main [[Wikiversity:Namespace|Namespace]] and on media file description pages in the image namespace. If a media file containing copyrighted content is used, the image description page must contain a description of the intended educational use of the media file.
#Media files containing copyrighted material that do not comply with the intent and spirit of this policy can be deleted by [[Wikiversity:Custodianship|custodians]] at any time. Text on Wikiversity pages that quotes a copyrighted work and that does not satisfy the spirit of this policy can be removed by any editor at any time.

&lt;strong&gt;Note: any &quot;fair use&quot; at Wikiversity must conform to [[Foundation:Resolution:Licensing policy]]&lt;/strong&gt;

== Deleting media files ==

=== Identification of uploaded files with problems ===
Before deleting a media file that lacks adequate source/copyright/licensing information, concerned Wikiversity participants and [[Wikiversity:Custodianship|Custodians]] should try to contact (through their talk page) the user who uploaded the media file, telling them of the specific source/copyright/licensing concerns. A good goal is to try to resolve the issue by communication.

Wikiversity may use a bot for leaving a message on user talk pages when users have uploaded a file but no licensing template has been used. The approved message template that the bot will place on the page of the uploaded files is [[Template:Nld]]. The message left on user talk pages is generated by [[Template:Image copyright]]. This talk page message  provides links that help the uploader understand the problem and that helps the uploader and the community fix problems with the uploaded file(s).

=== Proposed deletion ===
Following the &quot;Template:Image copyright&quot; message, if the person who uploaded a file fails to describe the source/copyright/licensing of media files uploaded to Wikiversity, and no other user satisfies the requirements of licensing policy, the file may be proposed for deletion, per [[Wikiversity:Deletion policy]] (using [[Template:delete|speedy deletion]] for files with no apparent educational usage, or [[Template:Proposed deletion|proposed deletion]] where files may have a possible educational use). In the event of controversy over deletion, a file may be listed at [[Wikiversity:Requests for Deletion]].

The normal delay in proposed deletion shall not apply to any file which clearly violates copyright, where a fair use or permitted use rationale could not reasonably apply; such files may be speedy deleted,

== Media file titles and file names ==
Descriptive file names are useful. A map of Africa could be called &quot;Africa.png&quot;, but quite likely more maps of Africa will be useful in Wikipedia, so it is good to be more specific, e.g. &quot;Africa political map.yourinitials.png&quot;, or &quot;Africa political map with red borders.png&quot;. 

== Media file formats ==
See: [[w:Wikipedia:Media help|Wikipedia:Media help]] and [[commons:Commons:File_types|Wikimedia Commons]] for a general introduction to media file use in WikiMedia projects. 

*Drawings, icons, political maps, flags and other such images are preferably uploaded in [[w:Scalable Vector Graphics|SVG]] format as vector images. Images with large, simple, and continuous blocks of color which are not available as SVG should be in [[w:PNG|PNG]] format.
*Drawings, icons, political maps, flags and other such images ''[[w:fair use|claimed as fair use]]'' should be in PNG format.
*Photos and images with photo-like color depth should be in [[w:PNG|PNG]] format.
*Inline animations should be in animated [[w:GIF|GIF]] format.
*Audio should be in [[w:Ogg|ogg]]/[[w:Vorbis|Vorbis]] format. See [[w:Wikipedia:Media help (Ogg)]].
*Video should be in [[w:Ogg|ogg]]/[[w:Theora|Theora]] format. See [[w:Wikipedia:Media help (Ogg)]].
*Screenshots should be in [[w:PNG|PNG]] or [[w:PNG|PNG]] format, depending on the photorealism/color depth of the subject.

Occasionally a [[w:PDF|PDF]] file is uploaded. Source documents should be uploaded to [[w:Wikisource|Wikisource]] instead.

See also: [[w:Wikipedia:Preparing images for upload|Wikipedia:Preparing images for upload]]

== Size ==

===Uploaded file size===

Uploaded files must be smaller than 20 [[w:megabyte|megabytes]]. The MediaWiki software Wikiversity uses can resize images automatically, so it is rarely necessary to resize images yourself.  

==Free and open-source software==
These [[w:free software|free]] and [[w:open source|open source]] software packages have been recommended by Wikipedians for use in image and media manipulation:
*The [[GIMP]] [http://www.gimp.org/] &amp;mdash; Raster image editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:Inkscape|Inkscape]] [http://www.inkscape.org/] &amp;mdash; [[w:Scalable Vector Graphics|SVG]] vector image editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:ImageMagick|ImageMagick]] [http://www.imagemagick.org/] &amp;mdash; Image conversion and transformation suite. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:GraphicsMagick|GraphicsMagick]] [http://www.graphicsmagick.org/] &amp;mdash; A clone of ImageMagick emphasizing consistency of the programming API and end-user command-line options. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:Audacity_(audio_editor) | Audacity]] [http://audacity.sourceforge.net/] &amp;mdash; General purpose sound editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])

==How to upload media files==
[[Image:License dropdown menu.png|thumb|right|400px|'''Figure 2'''. The drop-down menu for licenses at [[Special:Upload]]. See '''Figure 1''', above, for a view of the other fields in the media file upload form.]]
You can upload a media file by using the ''Upload file'' link in the toolbox, which is a link to [[Special:Upload]]. On most browsers, you will see a &quot;Browse...&quot; button, which will bring up your operating system's standard file open dialog. Choosing a file will fill the name of that file into the &quot;Destination filename&quot; field next to the button. You can edit the content of the &quot;Destination filename&quot; field and provide a [[#Media file titles and file names|descriptive name]] for the file.

If [[w:JavaScript|JavaScript]] is not enabled in your user preferences then the destination field is left blank and you must add a file name.

You must also affirm that you are not violating any copyrights by uploading the file. The easiest way to do this is to use [[Template:information]] in the &quot;Summary&quot; field [[#Copyright status|as described above]] and select a license from the drop-down menu. Alternatively, add a license template in the &quot;Summary&quot; field, [[#Checklist for media file uploading|as described above]].

Press the &quot;Upload&quot; button to finish the upload. This may take some time if you have a slow Internet connection.

'''Note''': that as with wiki pages, others may edit or delete your uploads if they think it serves the Wikiversity project, and you may be blocked from uploading if you abuse the system.

'''Note''': When overwriting an image file with a new version, you must refresh your browser's [[w:Web cache|cache]] to see the new image.

'''Note''': Only [[Help:Logging in|logged in]] users can upload files. Once a file is uploaded, other pages can include or link to the file. Uploaded files are given the &quot;Image:&quot; prefix by the system, even if they are not images, and each one has an [[w:Wikipedia:Image description page|image description page]] that can be edited to provide additional information about the media file after it is uploaded.

===Find previously uploaded images===
*To view or search images previously uploaded directly to English Wikipedia, go to the [[Special:Imagelist|list of uploaded images]].  
* Uploads and deletions are logged on the [[Special:Log/upload|upload log]].

== Multiproject upload ==
Please consider uploading language-neutral content to the [[commons:Main Page|Wikimedia Commons]].

It is not possible to use a media file uploaded to the Wikiversity project in another project without re-uploading it. If you want to use (or, if it is likely that others would want to do so) the same media file in more than one Wikimedia Foundation project, you can upload it to [[commons:Main Page|Wikimedia Commons]] and it would become immediately accessible from all Wikimedia projects. Note that Commons only accepts free media (public domain or licensed under a [[w:free license|free license]]). If the media file is [[w:fair use|fair use]], you can't upload it to Commons. For more information see: [[meta:Sharing images across projects]].

==Text files==

Please do not upload plain text (.txt), Microsoft Word (.doc), or text files in other formats.  Instead, please [[Help:Starting a new page|start a new page]] and input the text using standard wiki formatting.  

See also: 
*[[m:MediaWiki file usage]] - Technical storage information
*[[commons:Commons:File_types|instructions at Wikimedia Commons]]; &quot;Some OpenOffice.org formats: SXW (text), SXI (slides), SXC (spreadsheet)&quot; are allowed.

==See also==
*[[Help:Media Files]]
*[[Free content]]
*[[Introduction to Wikiversity scholarship]]
*[[Digital media workshop]]
{{Official policies}}
{{Proposed policies}}

== External links ==
*[[wikimedia:Resolution:Licensing policy|Wikimedia Foundation licensing policy]]
*[[Commons:Commons:How to use Commons multimedia|How to use Commons multimedia]]
*[[w:Wikipedia:Picture tutorial|Picture tutorial]]
*[[w:Wikipedia:Graphics tutorials|Graphics tutorials]]
*[[w:Wikipedia:Public domain image resources|Public domain image resources]]
*[[w:Wikipedia:Media|Media]]
*[[w:Wikipedia:Finding images tutorial|Tutorial on finding images]]
*[[w:Wikipedia:How to create graphs for Wikipedia articles|How to create graphs]]

[[Category:Wikiversity documents]]
[[Category:Wikiversity policy]]</text>
      <sha1>p11wgshxqsk90nm102g0g7m5ba1ctg5</sha1>
    </revision>
    <revision>
      <id>2718413</id>
      <parentid>2718412</parentid>
      <timestamp>2025-06-13T03:09:13Z</timestamp>
      <contributor>
        <username>MathXplore</username>
        <id>2888076</id>
      </contributor>
      <minor />
      <comment>Protected &quot;[[Wikiversity:Uploading files]]&quot;: High traffic page ([Edit=Allow only autoconfirmed users] (indefinite) [Move=Allow only autoconfirmed users] (indefinite))</comment>
      <origin>2497946</origin>
      <model>wikitext</model>
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      <text bytes="20462" sha1="p11wgshxqsk90nm102g0g7m5ba1ctg5" xml:space="preserve">{{fmbox
|image= [[File:Info icon.svg|48px]]
|text= '''To upload files you must be logged in, and your account must be [[Wikiversity:Autoconfirmed users|autoconfirmed]] (an account that is at least 4 days old and has more than 10 edits to Wikiversity) or [[Wikiversity:Confirmed users|confirmed]].''' If you are not an autoconfirmed or confirmed user, please request an upload at [[Wikiversity:Request custodian action]].
}}
This page outlines what you should know about '''uploading files''' for use at Wikiversity. [[Wiki]] technology originated as a tool for collaborative editing of text. The [[w:MediaWiki|MediaWiki]] software used at Wikiversity allows all participants to upload media files. Once uploaded, links to those files can be added to Wikiversity pages, thus allowing the incorporation of still images, sounds, video and other media into Wikiversity [[learning resource]]s. All media files that support the educational mission of Wikiversity are welcome, but there are important restrictions on the use of media files. If you do not pay attention to these restrictions then it is likely that files you upload to Wikiversity will be deleted. This page describes the types of media files that can be uploaded to Wikiversity and explains how to upload files at [[Special:Upload]].

Please note that '''most digital media files you might find on the Internet are copyrighted and not appropriate for uploading to Wikiversity'''.   If you did not create the media file or are unable or unwilling to verify its copyright status, '''do not upload the media file'''.  For hints on how to find images appropriate for uploading, see the [[w:Wikipedia:finding images tutorial|finding images tutorial]].  
[[Image:Special upload form.png|thumb|right|400px|'''Figure 1'''. The media file upload form at [[Special:Upload]]. See [[#How to upload media files|below]] for details on how to use this form.]]
== Checklist for media file uploading ==
Below this brief checklist to follow when you upload a media file to Wikiversity using the [[Special:Upload]] page. '''If you do not know the copyright status of a media file or if you do not know that it is available under a &quot;free&quot; license, then do not upload the file'''. Additional details are in other sections, below, on this page.

#'''Licensing'''. The text contents of the Wikiversity website are licensed under the [http://creativecommons.org/licenses/by-sa/3.0/ Creative Commons CC-BY-SA 3.0 License] and the [[Wikiversity:GNU Free Documentation License|GNU Free Documentation License]]. Media files that are uploaded to Wikiversity must be compatible with the [[w:Copyleft|copyleft]] nature of Wikiversity. You must explain the licensing of each uploaded file:
##use the &quot;Licensing&quot; drop-down menu to indicate a license for each file uploaded at [[Special:Upload]]
##explain which license applies to the newly uploaded media file in the &quot;Summary&quot; field at [[Special:Upload]]. If you are familiar with templates, you can use one of the templates at [[:Category:Document copyright tags]]; see [[Wikiversity:License tags]] and [[m:Help:Template|Help:Template]] for additional information about templates. These templates can be used:
###[[Template:Cc-by-sa-3.0]]
###[[Template:PD]]
###[[Template:Wikiversity-screenshot]] - screenshots of Wikiversity
###[[Template:Software-screenshot]] - other screenshots
#'''Source'''. In the &quot;Summary&quot; field at [[Special:Upload]], explain where the media file came from, such as: scanning a paper document, or provide the [[w:URL|URL]], or a name/alias and method of contacting the person who created the media file. 
##'''copyright status'''. If someone other than you created the media file that you want to upload, be sure that you provide information about the [[#Copyright status|copyright status]] of the file.

==Licenses==
Before you upload a media file, make sure that either: 
*You own the rights to the media file (usually meaning that you created the image yourself).
*You can prove that the copyright holder has licensed the media file under a [[w:free license|free license]] that is compatible with the [[Wikiversity:GNU Free Documentation License|GFDL]].
*You can prove that the media file is in the [[w:public domain|public domain]].
*You believe, and state, a [[w:Fair use|fair use rationale]] for your use of the media file.  

==Copyright status==
Always note the media file's copyright status and provide specific details about its origin. Use the '''Summary''' field on the [[Special:Upload]] page to provide this information. The recommended media file summary contains some or all of the following:&lt;br /&gt;&lt;br /&gt;
'''Description:''' The subject of the media file &lt;br /&gt;
'''Source:''' The copyright holder of the media file or URL of the web page the media file came from &lt;br /&gt;
'''Date:''' Date the media file was created. The more exact, the better &lt;br /&gt;
'''Location:''' Where the media file was created. The more exact the better &lt;br /&gt;
'''Author:''' The media file creator, especially if different from the copyright holder &lt;br /&gt;
'''Permission:''' Who or what law or policy gives permission to post on Wikipedia with the selected media file license

A convenient way to add this information is to copy this text:

 &lt;nowiki&gt;{{&lt;/nowiki&gt;Information
 |Description=
 |Source=
 |Date=
 |Author=
 |Permission=
 |other_versions=
 &lt;nowiki&gt;}}&lt;/nowiki&gt;

into the &quot;Summary&quot; field at [[Special:Upload]] and then add your information after each &quot;=&quot; sign.

===User-created media files===

Wikipedia encourages users to upload their own images, but all user-created media files must be released under a [[#Free licenses|free license]] (such as an acceptable [[w:Creative Commons Licenses|Creative Commons license]]) or be released into the [[w:public domain|public domain]] (no license). If you are licensing your own media file, it is often good practice to multi-license your media file under both GFDL and a compatible Creative Commons license.

===Free licenses===

For a list of possible licenses which are considered &quot;free enough&quot; for Wikimedia projects, see [[w:Wikipedia:Image copyright tags]]. Licenses which restrict the use of the media to non-profit or educational purposes only (i.e. noncommercial use only), or are given permission to ''only'' appear on Wikiversity, are ''not'' free enough and media files licensed in a non-free fashion will be deleted after you upload them (so do not bother to upload such media files). Sources of free images can be found at [[w:Wikipedia:Free image resources|Free image resources]]. In short, Wikiversity media files should be as &quot;free&quot; as Wikiversity's text content &amp;mdash; both to keep Wikiversity's own legal status secure as well as to allow for as much re-use of Wikiversity content as possible.

'''Note''': feel free to [[link]] to [[learning resource]]s such as materials at other websites that is licensed as &quot;non-commercial re-use only&quot;.

===Public domain===

Under United States copyright law, all images '''published''' ''before'' January 1, 1923 in the United States are now in the [[w:Wikipedia:public domain|public domain]], but this does not apply to images that were created ''prior'' to 1923 and '''published''' in 1923 or later.  The year 1923 has [[w:Sonny Bono Copyright Term Extension Act|special significance]] and this date will not roll forward before 2019. 

===Fair use considerations===
Some usage of copyrighted materials without permission of the copyright holder can qualify as [[fair use]] in the United States (but not in most other jurisdictions). Improper claims of fair use constitute [[w:copyright infringement|copyright infringement]] and are illegal. '''See also''': [[meta:Avoid copyright paranoia|Avoid copyright paranoia]].

The following section of this page serves as the '''Exemption Doctrine Policy''' for the English language Wikiversity. For related  information, see the [[foundation:Resolution:Licensing_policy|Wikimedia Foundation licensing policy]]. To learn more, see the [[Fair use]] learning project.

====Exemption Doctrine Policy====
{{Policy|WV:EDP}}
[[w:United States copyright law|Government regulation of copyright]] in the United States exists to promote &quot;Science and useful Arts&quot;. There is a long history of defining special considerations for the use of copyrighted material in educational contexts.  The primary goal of this policy is to create a [[fair use]] policy that is suited to the education-oriented mission of Wikiversity. Wikiversity permits a limited amount of fair use content under strictly defined circumstances that are deliberately intended to respect [[w:Fair use|United States fair use law]]. Wikiversity can include &quot;fair use content&quot; if '''all''' of the following criteria are met. 

#Copyrighted works can be used at Wikiversity under the [[w:Fair use|fair use doctrine]] only if such use has an obvious educational value that contributes directly to the Wikiversity mission. Fair use content is used only if its presence can significantly increase understanding of the topic and if its omission would be detrimental to that understanding.
#Wikiversity content that is used under the [[w:Fair use|fair use doctrine]] must have no [[w:Free content|free]] equivalent. Wikiversity content that is used under the fair use doctrine should, when possible, be replaced with equivalent content that is available under a [[w:copyleft|copyleft]] license or that exists in the [[w:Public domain|public domain]]. 
#Wikiversity content that is used under the fair use doctrine must not decrease the market value of any copyrighted works. 
#Requests from copyright holders that copyrighted content be removed from Wikiversity are honored. If copyright holders decide that they do not accept a fair use rationale used at Wikiversity, then the copyrighted material cannot be used at Wikiversity.
#Wikiversity content that is used under the fair use doctrine is used as little as possible and only in order to attain a specific educational goal. Multiple items are not used if one will suffice. An entire copyrighted work is not used if a portion will suffice.  Low- rather than high-resolution/fidelity/sample length is used when possible. Even low-resolution/fidelity or short samples cannot be used under the fair use doctrine at Wikiversity if such use allows for piracy or other re-use that will decrease the market value of the copyrighted work. 
#Wikiversity content that is used under the fair use doctrine must be properly attributed to the copyright holder.
#Fair use content is only allowed in [[learning resource]]s in the main [[Wikiversity:Namespace|Namespace]] and on media file description pages in the image namespace. If a media file containing copyrighted content is used, the image description page must contain a description of the intended educational use of the media file.
#Media files containing copyrighted material that do not comply with the intent and spirit of this policy can be deleted by [[Wikiversity:Custodianship|custodians]] at any time. Text on Wikiversity pages that quotes a copyrighted work and that does not satisfy the spirit of this policy can be removed by any editor at any time.

&lt;strong&gt;Note: any &quot;fair use&quot; at Wikiversity must conform to [[Foundation:Resolution:Licensing policy]]&lt;/strong&gt;

== Deleting media files ==

=== Identification of uploaded files with problems ===
Before deleting a media file that lacks adequate source/copyright/licensing information, concerned Wikiversity participants and [[Wikiversity:Custodianship|Custodians]] should try to contact (through their talk page) the user who uploaded the media file, telling them of the specific source/copyright/licensing concerns. A good goal is to try to resolve the issue by communication.

Wikiversity may use a bot for leaving a message on user talk pages when users have uploaded a file but no licensing template has been used. The approved message template that the bot will place on the page of the uploaded files is [[Template:Nld]]. The message left on user talk pages is generated by [[Template:Image copyright]]. This talk page message  provides links that help the uploader understand the problem and that helps the uploader and the community fix problems with the uploaded file(s).

=== Proposed deletion ===
Following the &quot;Template:Image copyright&quot; message, if the person who uploaded a file fails to describe the source/copyright/licensing of media files uploaded to Wikiversity, and no other user satisfies the requirements of licensing policy, the file may be proposed for deletion, per [[Wikiversity:Deletion policy]] (using [[Template:delete|speedy deletion]] for files with no apparent educational usage, or [[Template:Proposed deletion|proposed deletion]] where files may have a possible educational use). In the event of controversy over deletion, a file may be listed at [[Wikiversity:Requests for Deletion]].

The normal delay in proposed deletion shall not apply to any file which clearly violates copyright, where a fair use or permitted use rationale could not reasonably apply; such files may be speedy deleted,

== Media file titles and file names ==
Descriptive file names are useful. A map of Africa could be called &quot;Africa.png&quot;, but quite likely more maps of Africa will be useful in Wikipedia, so it is good to be more specific, e.g. &quot;Africa political map.yourinitials.png&quot;, or &quot;Africa political map with red borders.png&quot;. 

== Media file formats ==
See: [[w:Wikipedia:Media help|Wikipedia:Media help]] and [[commons:Commons:File_types|Wikimedia Commons]] for a general introduction to media file use in WikiMedia projects. 

*Drawings, icons, political maps, flags and other such images are preferably uploaded in [[w:Scalable Vector Graphics|SVG]] format as vector images. Images with large, simple, and continuous blocks of color which are not available as SVG should be in [[w:PNG|PNG]] format.
*Drawings, icons, political maps, flags and other such images ''[[w:fair use|claimed as fair use]]'' should be in PNG format.
*Photos and images with photo-like color depth should be in [[w:PNG|PNG]] format.
*Inline animations should be in animated [[w:GIF|GIF]] format.
*Audio should be in [[w:Ogg|ogg]]/[[w:Vorbis|Vorbis]] format. See [[w:Wikipedia:Media help (Ogg)]].
*Video should be in [[w:Ogg|ogg]]/[[w:Theora|Theora]] format. See [[w:Wikipedia:Media help (Ogg)]].
*Screenshots should be in [[w:PNG|PNG]] or [[w:PNG|PNG]] format, depending on the photorealism/color depth of the subject.

Occasionally a [[w:PDF|PDF]] file is uploaded. Source documents should be uploaded to [[w:Wikisource|Wikisource]] instead.

See also: [[w:Wikipedia:Preparing images for upload|Wikipedia:Preparing images for upload]]

== Size ==

===Uploaded file size===

Uploaded files must be smaller than 20 [[w:megabyte|megabytes]]. The MediaWiki software Wikiversity uses can resize images automatically, so it is rarely necessary to resize images yourself.  

==Free and open-source software==
These [[w:free software|free]] and [[w:open source|open source]] software packages have been recommended by Wikipedians for use in image and media manipulation:
*The [[GIMP]] [http://www.gimp.org/] &amp;mdash; Raster image editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:Inkscape|Inkscape]] [http://www.inkscape.org/] &amp;mdash; [[w:Scalable Vector Graphics|SVG]] vector image editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:ImageMagick|ImageMagick]] [http://www.imagemagick.org/] &amp;mdash; Image conversion and transformation suite. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:GraphicsMagick|GraphicsMagick]] [http://www.graphicsmagick.org/] &amp;mdash; A clone of ImageMagick emphasizing consistency of the programming API and end-user command-line options. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])
*[[w:Audacity_(audio_editor) | Audacity]] [http://audacity.sourceforge.net/] &amp;mdash; General purpose sound editor. ([[w:Linux|Linux]], [[w:Microsoft Windows|Windows]], [[w:Mac OS X|Mac OS X]])

==How to upload media files==
[[Image:License dropdown menu.png|thumb|right|400px|'''Figure 2'''. The drop-down menu for licenses at [[Special:Upload]]. See '''Figure 1''', above, for a view of the other fields in the media file upload form.]]
You can upload a media file by using the ''Upload file'' link in the toolbox, which is a link to [[Special:Upload]]. On most browsers, you will see a &quot;Browse...&quot; button, which will bring up your operating system's standard file open dialog. Choosing a file will fill the name of that file into the &quot;Destination filename&quot; field next to the button. You can edit the content of the &quot;Destination filename&quot; field and provide a [[#Media file titles and file names|descriptive name]] for the file.

If [[w:JavaScript|JavaScript]] is not enabled in your user preferences then the destination field is left blank and you must add a file name.

You must also affirm that you are not violating any copyrights by uploading the file. The easiest way to do this is to use [[Template:information]] in the &quot;Summary&quot; field [[#Copyright status|as described above]] and select a license from the drop-down menu. Alternatively, add a license template in the &quot;Summary&quot; field, [[#Checklist for media file uploading|as described above]].

Press the &quot;Upload&quot; button to finish the upload. This may take some time if you have a slow Internet connection.

'''Note''': that as with wiki pages, others may edit or delete your uploads if they think it serves the Wikiversity project, and you may be blocked from uploading if you abuse the system.

'''Note''': When overwriting an image file with a new version, you must refresh your browser's [[w:Web cache|cache]] to see the new image.

'''Note''': Only [[Help:Logging in|logged in]] users can upload files. Once a file is uploaded, other pages can include or link to the file. Uploaded files are given the &quot;Image:&quot; prefix by the system, even if they are not images, and each one has an [[w:Wikipedia:Image description page|image description page]] that can be edited to provide additional information about the media file after it is uploaded.

===Find previously uploaded images===
*To view or search images previously uploaded directly to English Wikipedia, go to the [[Special:Imagelist|list of uploaded images]].  
* Uploads and deletions are logged on the [[Special:Log/upload|upload log]].

== Multiproject upload ==
Please consider uploading language-neutral content to the [[commons:Main Page|Wikimedia Commons]].

It is not possible to use a media file uploaded to the Wikiversity project in another project without re-uploading it. If you want to use (or, if it is likely that others would want to do so) the same media file in more than one Wikimedia Foundation project, you can upload it to [[commons:Main Page|Wikimedia Commons]] and it would become immediately accessible from all Wikimedia projects. Note that Commons only accepts free media (public domain or licensed under a [[w:free license|free license]]). If the media file is [[w:fair use|fair use]], you can't upload it to Commons. For more information see: [[meta:Sharing images across projects]].

==Text files==

Please do not upload plain text (.txt), Microsoft Word (.doc), or text files in other formats.  Instead, please [[Help:Starting a new page|start a new page]] and input the text using standard wiki formatting.  

See also: 
*[[m:MediaWiki file usage]] - Technical storage information
*[[commons:Commons:File_types|instructions at Wikimedia Commons]]; &quot;Some OpenOffice.org formats: SXW (text), SXI (slides), SXC (spreadsheet)&quot; are allowed.

==See also==
*[[Help:Media Files]]
*[[Free content]]
*[[Introduction to Wikiversity scholarship]]
*[[Digital media workshop]]
{{Official policies}}
{{Proposed policies}}

== External links ==
*[[wikimedia:Resolution:Licensing policy|Wikimedia Foundation licensing policy]]
*[[Commons:Commons:How to use Commons multimedia|How to use Commons multimedia]]
*[[w:Wikipedia:Picture tutorial|Picture tutorial]]
*[[w:Wikipedia:Graphics tutorials|Graphics tutorials]]
*[[w:Wikipedia:Public domain image resources|Public domain image resources]]
*[[w:Wikipedia:Media|Media]]
*[[w:Wikipedia:Finding images tutorial|Tutorial on finding images]]
*[[w:Wikipedia:How to create graphs for Wikipedia articles|How to create graphs]]

[[Category:Wikiversity documents]]
[[Category:Wikiversity policy]]</text>
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{{center top}}&lt;small&gt;When adding resources to this page, try to keep the page structure similar to the [[../Activities|Activities]] page to make it easy for learners to find resources relevant to specific [[../Activities|Activities]].&lt;/small&gt;{{center bottom}}

Use, improve and add resources which may be useful in performing the [[../Activities|Activities]]. 

{{biblio}}
=Reading List=

==Pondering Social Entrepreneurship==

* [[What is Social Entrepreneurship]]?
* [[Portal:Social_entrepreneurship/Curriculum/General/Multimedia resources on Social Entrepreneurship|Multimedia resources on Social Entrepreneurship]]
* [[Social Entrepreneurship FAQ|FAQ]]

== Comparing Social Entrepreneurship with Service Learning, Community-based Learning, etc.==

Boyle-Baise &amp; Sleeter, C.E. Community-based service-learning for multicultural teacher education.
'''Education Foundations''', Spring: 33-50.

Bringle, R.G., Hatcher, J.A. 2002. Campus-Community Partnerships: The terms of engagement.
'''Journal of Social Issues''', 58(3): 503-516.

Bringle, R.G., Hatcher, J.A. 2000. (may-June) Institutionalization of service Learning in Higher Educa-
tion. '''Journal of Higher Education''', 71(3), 274-289.

Castle &amp; Osman, 2003. Service learning in teacher education: an institutional model for an emerging
practice. '''South African Journal of Higher Education''', 17(1):105-111.

Eyler, J. 2002. Reflection: Linking service and learning—linking students and communities. '''Journal of Social Issues''', 58 (3): 517-534.

Howard, J.P.F. 1998, Spr. Academic Service Learning: A counter normative Pedagogy. '''New Directions for Teaching and Learning''', 73, 21-27.

Jacoby, B. 1996. '''Service-learning in higher education: concepts and practices'''. San Francisco,
CA:Jossey-Bass. Chapter 3: Enhancing student learning and development through service-learning.

LaMaster, K.J. 2001. Enhancing Perservice Teachers Field experiences through the addition of a
Service-Learning Component. '''The Journal of Experiential Education'''. 24(1):27-33.

Owens, TR, Wang, C. January 1996. '''Community-Based Learning: A foundation for meaningful education reform'''. (Available online at http://www.nwrel.org/scpd/sirs/10/t008.html).

Roakes, S.L. &amp; Norris-Tirrell, D. 2000. Community service learning in planning education: A frame-work for course development. '''Journal of planning education and research''', 20:100-110.

'''Service-Learning Clearinghouse Project'''. (Available on line at http://www.gseis.ucla.edu/slc/basics.html).

Waghid, Y. 1999. Engaging universities and society through research, teaching and service. '''South African Journal of Higher Education''', 13(2):109-117.

Weigert, K.M. 1998. Spr. Academic Service Learning: Its meaning and relevance. '''New Directions for Teaching and Learning''', 73, 3-10.

Zlotkowski, E. 2001. Mapping new terrain: Service Learning across the disciplines. '''Change'''. Jan/Feb: 25 –33.

== Social Entrepreneurship==

See the [[Portal:Social entrepreneurship/Curriculum/Readings/more|General Social Entrepreneurship Readings]].

Paul Light, ''Searching for Social Entrepeneurs: Who They might be, Where They might be found, What They do.'' Anova, 2006. Available online at (http://www.indiana.edu/~socent/cp_readinglist.html)

=Recommended Web Sites=

Tishler, Carla. ''Enterprising Nonprofits: A Toolkit for Social Entrepreneurs - Why Running a Nonprofit is the Hardest Job in Business'', Harvard Bussiness School Archive, 5/29/2001. 
Available online at (http://hbswk.hbs.edu/archive/2265.html)

==Using Wikis==

[http://www.myglife.org/workshop/master/en/learn/tutorials/wiki Wiki Essentials Tutorial] ([http://www.myglife.org MyLife.org)

==Education in General==

* [http://www.eriche.org ERIC Clearing House on Higher Education]

== Service-Learning==

* [http://www.servicelearning.org National Service-Learning Clearinghouse]
* [http://www.slic.calstate.edu Service-Learning Internet Community]
* [http://www.Fiu.edu/~time4chg/Library/bigdummy.html The Big Dummy’s guide to service-learning]

== Social entrepreneurship ==

Insert links to the best web sites here.

For now, see the [[Portal:Social entrepreneurship/Related portals/more|longer list]] of portals.

=== Profiles ===

* See [[Portal:Social entrepreneurship/Profiles/more|our own growing list]], and don't forget to check out the external links at the end of [[Portal:Social entrepreneurship/Profiles/more|that page]]. 

=== Case Studies ===

* See [[Portal:Social entrepreneurship/Case Studies/more|our own growing list]]. and explore the links at the end of [[Portal:Social entrepreneurship/Case Studies/more|that page]].

=etc.=

* [http://business.timesonline.co.uk/tol/business/related_reports/social_entrepreneurs/ Social Entrepreneurs] (Times)
* [http://www.scn.org/cmp/modules/a-mod.htm Community Empowerment] - modules by [http://www.scn.org/cmp/cta.htm Phil Bartle], PhD.

=See Also=

* [[../Links|Links]]

[[Category:Readings (Social Entrepreneurship)]]</text>
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      <text bytes="18013" sha1="nm3xnjoaxe1zguc17nqt3g0nfv0yk7o" xml:space="preserve">== Before we start: Back-pocket notes==

Note: This is not all of Spanish 1!

As you start learning a different language, remember to concentrate in primarily four (4) aspects:
*Reading
*Writing
*Listening 
*Speaking

===Unfamiliar characters===
In Spanish, there are a few characters that, in general terms, are not used in the English language.

* '''Opening marks'''. Written questions and expressions of exclamation begin with a '''¿''' or a '''¡''' (inverted characters as the ones used in English); the purpose of these is to establish the beginning of the question or exclamation and, thus, alert the reader to prepare for the according intonation. The opening marks are paired with the (closing) ending marks.

* '''Accents'''. The vowels are the only letters that may present an accent:
á é í ó ú

Notice that only one type of accent is used: &quot;'''´'''&quot;.

Good to know: interrogative pronouns (what?, who?, where?, when?, how?, why?) ''¿qué?'', ''¿quién?'', ''¿dónde?'', ''¿cuándo?'', ''¿cómo?'', ''¿por qué?'', (respectively) are always written with an accent.

Also, later you'll learn about [[w:Diaeresis (diacritic)|diaeresis]], which may be presented over the letter ''u'' as:
'''ü'''

In  Spanish, ''ü'' is used in a limited amount of words and in conjunction with the letter ''g'', as in: ''pingüino'' (penguin).

Additionally, an important known and characteristic letter of the Spanish language is: '''ñ''' called ''eñe''. Though it looks like an ''n'' it is a different letter (it's sound is similar to that of the '''''gn''''' in lasa''gn''a; thus, lasaña in Spanish).

The character &quot; '''~''' &quot; (tilde) is formally called ''virgulilla de la eñe'', and is not used on any other letter.

===Sounds===

As in general terms, every letter of the [[Spanish alphabet|alphabet]] has its own sound, so if you learn the sounds of the letters, you will soon be able to read the words.

Later note that there are some particularities about letters: ''c'', ''s'', ''x'' &amp; ''z'', and also about the letter ''h'' and ''ch'', as well as ''y'' and ''ll''. '''H''' or '''h''' are generally silent if it follows a '''C''' or '''c''' sounds like the initial sound in '''''ch'''eese'' [t͡ʃ].

Regarding pronunciation, the sound of the double ''r''  &quot; '''rr''' &quot; [r], is stronger than the sound of the single ''r'' [ɾ]. No word in Spanish starts with double-r (Rr).

----

Good luck. ''Buena suerte''. Don't be nervous... don't be afraid of letting the ''Trigeminal nerve'' do its thing! Cheers!

¡Comencemos!

== Chapter 1 (Intro to Greetings and Phrases &amp; sounds) ==

==Greetings and Phrases==
*'''Buenos días.''' - Good morning.
*'''Buenas noches.''' - Good night.
*'''Buenas tardes.''' - Good afternoon./Good evening.
*'''Hola.''' - Hello.
*'''¿Cómo te llamas?''' - What is your name?
*'''Me llamo...''' - My name is...
*'''Encantado(a).''' - Delighted.
*'''Igualmente.''' - Likewise. / Same here.
*'''Mucho gusto.''' - Pleased to meet you.
*'''Señor (Sr.)''' - sir, Mr.
*'''Señora (Sra.)''' - madam, Mrs.
*'''Señorita (Srta.)''' - miss, Ms.
*'''¿Cómo estás?''' - How are you? (familiar)
*'''¿Cómo está usted?''' - How are you? (formal)
*'''¿Qué?''' - What?
*'''¿Cómo le va?''' - How do you do? (formal)
*'''¿Cómo te va?''' - How's it going? (informal)
*'''¿Qué tal?''' - How are you?
*'''¿Y tú?''' - And you? (familiar)
*'''¿Y usted?''' - And you? (formal)
*'''bien''' - well
*'''más o menos''' - more or less (so, so)
*'''nada''' - nothing 
*'''regular''' - regular, okay
*'''Lo siento''' - I am sorry
*'''Gracias.''' - Thank you.
*'''De nada.''' - You're welcome. / Not at all.
*'''A su servicio.''' - At your service.
*'''Adiós.''' - Good-bye.
*'''Chao.''' - Bye.
*'''Hasta luego.''' - See you later.
*'''Hasta mañana.''' - See you tomorrow.
*'''Hasta pronto.''' - See you soon.
*'''Nos vemos.''' - See you.

====Note==== 
Remember: 
* in most countries, &quot;ll&quot; (double &quot;L&quot;) is pronounced as &quot;j&quot; [d͡ʒ~ʒ]; &quot;y&quot; [ʎ~j] in Mexico  and &quot;sh&quot; [ʃ] in Argentina...
* in Latin America the &quot;Z&quot; is pronounced as &quot;s&quot; [s]; &quot;th&quot; [θ] in Spain.
* J is used for the sound like in Ba'''ch''' [x~ɣ~h], g is pronounced hard [ɡ] before a, o and u, but the same as j [x~ɣ~h] before e and i. (To indicate, that it is pronounced hard before these gu- is written. Gü- simply is [ɡʷ].
* letters in parentheses (a) are feminine, while those without (o) are masculine.

====How To Use Ud and Uds (Tú/Usted [Ud.] - Vosotros/Ustedes[Uds.])====
In Castillian Spanish (Spain), there are several ways to say &quot;you.&quot; We must differentiate between familiar/formal and singular/plural forms. ''Tú'' (singular) is used when talking to someone you know, such as family, friends, or pets. ''Usted'' (abbreviated Ud.) is used in formal events, such as talking to a teacher, someone who you don't know well, or a person who has a high title, such as a police officer, etc. The plural of tú is vosotros/as, the female form is used only for a wholly female group. The plural of usted is ustedes. In Latinoamerica ''usted'' can also be used for a close friend and ''tú'' is never used as a polite form. Tú may be lost altogether and another pronoun vós may be used be present for certain contexts.

{| class=wikitable
!
!Singular
!Plural
|-
!Familiar
|align=center|tú
|align=center|vosotros/as (Spain)&lt;br&gt;ustedes (Latin America) &lt;small&gt;[http://lema.rae.es/dpd/srv/search?id=yhtVtQ5pQD6ONJL2Gd RAE]&lt;/small&gt;
|-
!Formal
|align=center|usted
|align=center|ustedes
|}

=== FANBOYS in Spanish (FANBOYS en Español) ===
'''Para''' - For

'''Y -''' And

'''Ni -''' Nor

'''Pero''' '''-''' But

'''O -''' Or 

'''Sin embargo -''' Yet

'''Así que -''' So

===Time (tiempo)===
:''Please read [[b:Spanish/Lessons/¿Qué hora es?|¿Qué hora es?]]''
*'''¿Qué hora es?''' - What time is it?
*'''¿A qué hora ....?''' - At what time ....?
*'''Es la una.''' - It's one o' clock.
*'''Son las dos.''' - It's two o' clock.
*'''Son las tres y cuarto.''' - It's a quarter past three.
*'''Son las cuatro y media.''' - It's half past four.
*'''Son las siete menos cuarto.''' - It's a quarter to seven.

===Whole numbers===
*'''cero''' - zero (0)
*'''uno''' - one (1)
*'''dos''' - two (2)
*'''tres''' - three (3)
*'''cuatro''' - four (4)
*'''cinco''' - five (5)
*'''seis''' - six (6)
*'''siete''' - seven (7)
*'''ocho''' - eight (8)
*'''nueve''' - nine (9)
*'''diez''' - ten (10)
*'''once''' - eleven (11)
*'''doce''' - twelve (12)
*'''trece''' - thirteen (13)
*'''catorce''' - fourteen (14)
*'''quince''' - fifteen (15)
*'''dieciséis''' - sixteen (16)
*'''diecisiete''' - seventeen (17)
*'''dieciocho''' - eighteen (18)
*'''diecinueve''' - ninteen (19)
*'''veinte''' - twenty (20)
*'''veintiuno''' - twenty-one (21)
*'''veintidós''' - twenty-two (22)
*'''veintitrés''' - twenty-three (23)
*'''veinticuatro''' - twenty-four (24)
*'''veinticinco''' - twenty-five (25)
*'''veintiséis''' - twenty-six (26)
*'''veintisiete''' - twenty-seven (27)
*'''veintiocho''' - twenty-eight (28)
*'''veintinueve''' - twenty-nine (29)
*'''treinta''' - thirty (30)
Note: '''After 30''', numbers are named using the conjunction &quot;y&quot; (''and''), as to say: &quot;thirty-and-one&quot;, &quot;thirty-and-two&quot;, etcetera... &quot;forty-and-eight&quot;, forty-and-nine&quot;, and so forth.... 
*'''treinta y uno''' - thirty-one (31)
*'''cuarenta''' - forty (40)
*'''cincuenta''' - fifty (50)
*'''sesenta''' - sixty (60)
*'''setenta''' - seventy (70)
*'''ochenta''' - eighty (80)
*'''noventa''' - ninety (90)
*'''cien''' - one hundred (100)

===Body parts ===
*(La) '''cabeza''' - (The) head
*(La) '''oreja''' - (The) ear (outside)
*(El) '''oído''' - (The) ear (inside)
*(El) '''ojo''' - (The) eye
*(La) '''nariz''' - (The) nose
*(La) '''boca''' - (The) mouth
*(La) '''lengua''' - (The) tongue
*(El) '''cuello''' - (The) neck
*(El) '''brazo''' - (The) arm
*(El) '''pecho''' - (The) chest
*(La) '''mano''' - (The) hand  &lt;&lt;--- Notice that though the noun in Spanish ends with ''''''o'''''' the article used is '''la'''.
*(El) '''dedo''' - (The) finger / toe
*(El) '''estómago''' - (The) stomach
*(La) '''pierna''' - (The) leg
*(El) '''muslo''' - (The) thigh
*(El) '''pie''' - (The) foot
*(El) '''pelo''' - body hair  &lt;&lt;--- Though colloquially, &quot;pelo&quot; may mean head hair as well
*(El) '''cabello''' - head hair
*(La) '''piel''' - (The) skin
*(El) '''músculo''' - (The) muscle
*(El) '''corazón''' - (The) heart
*(La) '''espalda''' - (The) back
*(La) '''rodilla''' - (The) knee
*(El) '''codo''' - (The) elbow
*(El) '''hombro''' - (The) shoulder

===Office items===
*'''bolígrafo/pluma''' - pen
*'''carpeta''' - folder
*'''cuaderno''' - notebook
*'''estudiante''' - student
*'''hoja de papel''' - sheet of paper
*'''(el) lápiz''' - pencil
*'''(los) lápices''' - pencils
*'''(el) borrador''' - eraser
*'''libro''' - book
*'''profesor, profesora''' - professor (male, female)
*'''maestro, maestra''' - teacher (male, female)
*'''sala de clases (salón de clases) / aula''' - classroom

====Please read====
* The articles '''el''' and '''la''' both mean ''the'' in Spanish. ''El'' is the masculine form and words that use ''el'' usually end in -o. ''La'' is the feminine form; most words that end in -a and all words that end in -ción are feminine. There are exceptions, as with the noun ''mano'' (hand) the article may not necessarily match the &quot;o&quot; or &quot;a&quot; standard: ''Las manos'' (&quot;The hands).

Some nouns can be either gender, such as ''estudiante'', which can be used as ''el estudiante'' or ''la estudiante''  to mean ''the student''. Other examples of nouns contrary to the norms of gender are &quot;''el paraguas''&quot; (the umbrella), &quot;''el día''&quot; (the day) and &quot;''la radio''&quot; (the radio).

* Some feminine words, like ''agua'', use the form ''El'' when in singular form, as it is considered hard to say ''la agua'' due to the [[w:Glottal stop|glottal stop (hiatus)]].

* Some Spanish speakers prefer terms that may vary from other regions, for example, in central Mexico ''salón de clases'' is used instead of ''aula'', and ''maestro(a)'' instead of profesor(a).

===Calendar (el calendario)===
*(El) '''año''' - (The) year
*(El) '''día''' - (The) day
*(El) '''mes''' - (The) month
*(La) '''semana''' - (The) week
*(El) '''fin de semana''' - (The) weekend  &lt;&lt;--- the article ''El'' is directed to ''fin'' (end); so it may be understood as: ''&quot;'''El''' fin de '''la''' semana&quot;'' (''The week's end'' or ''the end of the week'').
*'''¿Qué día es hoy?''' - What day is today?
*'''¿Cuál es la fecha?''' - What is the date?
*'''Es el ... de ...''' - It's the ... of ...
*'''Es el primero de ...''' - It's the first of ...
*'''hoy''' - today
*'''ahora''' – now
*'''mañana''' - tomorrow
*'''en el futuro''' – in the future
*'''ayer''' - yesterday

[[File:Orchard calandar 1919.jpg|thumb|200px|Calendar in English.]]
[[File:Kalendaroj.jpg|thumb|200px|Calendario en español.]]
==== Days of the week ====
As in English, the roots of the names for each of the days of the week maintain a link to planets and other cosmic bodies, which in instances were ultimately named after deities; Norse mythology for English (Germanic language) and Roman mythology for Spanish (Romance language).

So for example, for Monday, we find &quot;moon&quot; (day), which translates to ''luna'', giving us lunes. Another example is Thursday, which was named after Thor, and has as parallel Jupiter; Jupiter (which is spelled the same in Spanish) is for ''jueves''.
*'''lunes''' - Monday
*'''martes''' - Tuesday
*'''miércoles''' - Wednesday
*'''jueves''' - Thursday
*'''viernes''' - Friday
*'''sábado''' - Saturday
*'''domingo''' - Sunday

Note: Look at the calendars, and notice that the week may start on Monday instead of Sunday

==== Months ====
*'''enero''' - January
*'''febrero''' - Feburary
*'''marzo''' - March
*'''abril''' - April
*'''mayo''' - May
*'''junio''' - June
*'''julio''' - July
*'''agosto''' - August
*'''septiembre''' - September
*'''octubre''' - October
*'''noviembre''' - November
*'''diciembre''' - December

=====Cultural note=====
* The names of  days in Spanish and many other European languages are always lowercase except at the beginning of a sentence.
[[Image:AztecCalendarMuseoAntropologia.JPG|thumb|200px|Aztec calendar]]
* The Aztecs of Ancient Mexico developed a calendar. &quot;The Aztec calendar stone, Mexica sun stone, Stone of the Sun (Spanish: Piedra del Sol), or Stone of the Five Eras, is a large monolithic sculpture that was excavated in the Zócalo, Mexico City's main square, on December 17, 1790.[1] It was discovered whilst Mexico City Cathedral was being repaired.[2] The stone is around 12 feet across and weighs about 24 tons.[3].&quot;(taken from wikipedia)
[1] Florescano, Enrico (2006). National Narratives in Mexico. Nancy T. Hancock (trans.), Raul Velasquez (illus.) (English-language edition of Historia de las historias de la nación mexicana, ©2002 [Mexico City:Taurus] ed.). Norman: University of Oklahoma Press. {{ISBN|0-8061-3701-0}}. OCLC 62857841 .
[2] a b Aztec Civilization 
[3] The Aztec Sun Stone

===Other words and phrases; some questions and answers===
*'''¿Cómo se escribe ...?''' - How is ... spelled?
*'''Se escribe ...''' - It's spelled ...
*'''¿Cómo se dice...?''' - How does one say...? (How do you say...?)
*'''Se dice...''' - One says... (You say...)
*'''¿Qué quiere decir ...?''' - What does ... mean?
*'''Quiere decir ...''' - It means ...
*'''¿Cuántos(as)?''' - How many?
*'''en''' - in / on
*'''hay''' - there is, there are
*'''por favor''' - please
*'''Punta...''' - Tip (point or vertex)

===[[Spanish alphabet|Alphabet]]===
Showing uppercase and how the letter is proununced or named in Spanish. 
*'''A''' - a
*'''B''' - be
*'''C''' - ce
*'''D''' - de 
*'''E''' - e
*'''F''' - efe
*'''G''' - ge
*'''H''' - hache
*'''I''' - i
*'''J''' - jota
*'''K''' - ka
*'''L''' - ele
*'''M''' - eme
*'''N''' - ene
*'''Ñ''' - eñe
*'''O''' - o
*'''P''' - pe
*'''Q''' - cu
*'''R''' - erre
*'''S''' - ese
*'''T''' - te
*'''U''' - u
*'''V''' - uve
*'''W''' - uve doble
*'''X''' - equis
*'''Y''' - i griega/ye 
*'''Z''' - zeta

===Country focus ===
[[Image:Flag_of_Mexico.svg|150px|right]]
'''Mexico''' (Spanish: México) is a federal constitutional republic in North America. It is bordered on the north by the United States; on the south and west by the North Pacific Ocean; on the southeast by Guatemala, Belize, and the Caribbean Sea; and on the east by the Gulf of Mexico. Mexico is a federation comprising thirty-one states and a federal district, the capital Mexico City (CDMX), whose metropolitan area is one of the world's most populous.
[[Image:mx-map.png|thumb|right|200px|Map of Mexico]]

Covering almost 2.3 million square kilometers, Mexico is the fifth-largest country in the Americas by total area and the 14th largest independent nation in the world. With an estimated population of 129 million (2019 estimated), it is the 10th most populous country and the most populous Spanish-speaking country in the world.

As a regional power and the only Latin American member of the Organization for Economic Co-operation and Development (OECD) since 1994, Mexico is firmly established as an upper middle-income country.

Mexico is the 12th largest economy in the world by GDP by purchasing power parity. The economy is strongly linked to those of its North American Free Trade Agreement (NAFTA) partners. Despite being considered an emerging world power, the uneven distribution of income and the increase in insecurity are issues of concern.

Mexican culture reflects the complexity of the country's history through the blending of pre-Hispanic civilizations and the culture of Spain, imparted during Spain's 300-year colonization of Mexico. Exogenous cultural elements mainly from the United States have been incorporated into Mexican culture. As was the case in most Latin American countries, when Mexico became an independent nation, it had to slowly create a national identity, being an ethnically diverse country in which, for the most part, the only connecting element amongst the newly independent inhabitants was Catholicism.
[[Image:Angel de la Independencia Mexico City.jpg|right|thumb|150px|Paseo de la Reforma in Mexico City at night, with the Angel of Independence.]]
The Porfirian era (el Porfiriato), in the last quarter of the nineteenth century and the first decade of the twentieth century, was marked by economic progress and peace. After four decades of civil unrest and war, Mexico saw the development of philosophy and the arts, promoted by President Díaz himself. Since that time, though accentuated during the Mexican Revolution, cultural identity had its foundation in the mestizaje, of which the indigenous (i.e. Amerindian) element was the core. In light of the various ethnicities that formed the Mexican people, José Vasconcelos in his publication La Raza Cósmica (The Cosmic Race) (1925) defined Mexico to be the melting pot of all races (thus extending the definition of the mestizo) not only biologically but culturally as well. This exalting of mestizaje was a revolutionary idea that sharply contrasted with the idea of a superior pure race prevalent in Europe at the time.

[[Image:CH10.JPG|left|thumb|150px|The famous Guadalajara Cathedral, a symbol of Mexico]]

'''Factbox''':
Official Language: Spanish

Other Languages: 62 other Native languages, English

Capital: Mexico City (Ciudad de México, México D.F.)

Government: Democracy

Area: 1,972,550 sq km (761,606 sq mi) (15th)

Population: 111,211,789 (July 2010) (11th)

Religion: Christianity 95% (mainly Catholic), Non-religious 2.5%, Buddhism 0.1%, other 2.4% (mainly traditional Mayan or Aztec beliefs)

Human Development Index [[w:Human_Development_Index|HDI]] : 0.854 (HIGH, 53rd) [[w:List_of_countries_by_Human_Development_Index|HDI List of Countries]]

Independence: September 27, 1821

Currency: Mexican pesos

[[Image:Palenque Ruins.jpg|thumbnail|150px|right|The ruins of Palenque, an Ancient Mayan city that was abandoned by the time Spanish explorers landed in Mexico.]]

[[Category:Spanish One]]</text>
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  <page>
    <title>User talk:Atcovi</title>
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      <timestamp>2025-06-12T18:37:20Z</timestamp>
      <contributor>
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        <id>3003470</id>
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      <comment>/* Potential suicide risk - need admin assistance */ new section</comment>
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      <text bytes="56873" sha1="ani6oxnnr5rfs8nn4c3ltq4izjeo5gd" xml:space="preserve">[[User:Atcovi/Archive 1|/Archive 1 (September 25, 2013 - November 15, 2013)]] • [[User talk:Atcovi/Archive 2|/Archive 2 (November 15, 2013 - November 27, 2013)]] • [[User talk:Atcovi/Archive 3|/Archive 3 (December 3, 2013 - December 25, 2013)]] • [[User talk:Atcovi/Archive 4|/Archive 4 (December 24, 2013 - January 1, 2014)]] • [[User talk:Atcovi/Archive 5|/Archive 5 (January 2, 2014 - January 20, 2014)]] • [[User talk:Atcovi/Archive 6|/Archive 6 (March 24, 2014 - April 14, 2014)]] • [[User talk:Atcovi/Archive 7|/Archive 7 (April 19, 2014 - September 8, 2014)]] • [[User talk:Atcovi/Archive 8|/Archive 8 (September 12, 2014 - November 3, 2014)]] • [[User talk:Atcovi/Archive 9|/Archive 9 (November 6, 2014 - January 26, 2015)]] • [[User talk:Atcovi/Archive 10|/Archive 10 (January 28, 2015 - March 11, 2015)]] • [[User talk:Atcovi/Archive 11|/Archive 11 (March 22, 2015 - June 25, 2016)]] • [[User talk:Atcovi/Archive 12 (June 26, 2016 - January 8, 2018)|/Archive 12 (June 26, 2016 - January 8, 2018)]] • [[User talk:Atcovi/Archive 13 (January 9, 2018 - April 14, 2023)|/Archive 13 (January 9, 2018 - April 14, 2023)]]

:''Before 2013: [https://en.wikiversity.org/w/index.php?title=User_talk:Atcovi&amp;diff=750617&amp;oldid=740650 see this]'' 
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== Hydrangeas and Me (Short Story in Progress) ==

'''CHAPTER 1''':

It was a rainy Monday morning. The overcast clouds brought about a wave of light gray over the world, allowing the rain its refuge from the harsh sun. I woke up earlier than usual, due to the incessant knocking of light rain on my window. I rose from my bed, spread open the curtains, and raised the blinds. I looked outside, admittedly a bit upset about the current state of weather, and stepped down to change into my school uniform. 

The walk to school would prove a bit more difficult today because of the light spray, so I prepared my best umbrella and opened the door, ready to face the world. Each of my steps pittered and pattered. Water began to soak through my sole to my foot, giving me quite an icky feeling. I walked, feeling as if sponges had been rubber banded to my feet. I saw other students making the commute as well. Some of them rose their feet in comedic ways to avoid all the water, to no avail. Others ignored the puddles and continued forward. ''Rather courageous…'' I thought to myself, smiling lightly. Little moments like these can bring happiness, even in this less-than-desired weather.

Eventually, me and the other hoards of students successfully made their way to the front gate. Some teachers decided to move under the canopy of the school’s main entrance, instead of their typical formation at the school’s gate. As I entered the canopy, I closed my umbrella and shook off the rain on the tiles in front of the glass door. Some other students mimicked my behavior and I laughed, albeit embarrassingly. I walked into the school, put my umbrella on the stand and marched toward my shoe locker before changing into the inside schools that were required of us.

''Today… I hope…'' Unlike the other mundane days, today was a lot more exciting. She would be there, in the garden of hydrangeas. After the change, I noted the time. 7:30. I would have a good amount of time to see her. I rushed with a silly look on my face to the library. Toward the back, there were several large windows which looked out upon the gardening club’s area of operation. I made sure to pick a table that was close to the windows. I turned my head outside, and like clockwork, she stood there tending to the flowers.

Today, because of the rain, she wore a little umbrella cap supplied to the club to fend off the rain. She stood and cut stems with tiny gardening scissors. Her look was focused, yet soft. She didn’t seem like she wanted to injure the flowers, as if they meant everything to her. Each movement and cut, every one seemed to take special care toward the hydrangeas. I sat holding my head up with one hand watching her. Today’s view was particularly beautiful. Maybe the rain isn’t so bad for today. 

The girl in the garden walked toward the shed to grab a few more tools. There were about 20 more minutes until the first bell would ring. Despite that, she continued to work. Her soft look and gaze had enraptured me, it reminded me of more innocent times. It reassured me, and it calmed me. Everytime I did this, I would feel so tired and relaxed. I wish I could watch for hours. Today, I want to change things. I don’t want to watch from afar anymore. I wish to know more about this girl who tends to the garden. What kind of flowers does she like? How long has she been tending to this garden? Many, many questions trying to flow out to reach their answered counterparts. 15 minutes left, if I want to do this I better act fast.

Tens of days spent watching, relaxed, for it suddenly to turn to stress and anxiety. Would she accept me? Is this her own personal time I'm trying to infringe upon? Each doubt weighed my steps like ankle weights, but despite it all, I continued forward. I opened the glass door and went outside, with no umbrella. The rain was rather light, so it didn’t pose much of a threat to my clothing. Upon opening the door, the girl in the garden noticed my entrance. Suddenly the image became reality, like entering a painting. The smell of dirt and flowers, mixed with rain. Her appearance is much more real.

“H-hello…” I stammer, honestly not knowing what else to say.

“Hi! What brings you to the garden, were you interested in joining the club?” She directs that typical soft smile in my direction. It’s very hard to not turn away from such a bright light. The rain complemented her well, like a warm bowl of porridge. 

What should I say? I hadn’t intended on joining this club, but what do I say aside from that? However, I don’t want to lie…

“I wanted… to talk to you. To ''see'' you.” Ehhh… that’s not right.

The girl’s expression seems to lighten, giving me a good chance to make eye contact. She seems a bit confused.

“Do we know each other? I don’t remember ever seeing you in class… I’m sorry…”

“The hydrangeas, I mean. I want to talk to you about the hydrangeas.”

Her quizzical expression turns even brighter than the one she showed me first.

“Oh! What would you like to know?” she’s smiling brightly, and tilts forward a bit waiting for my response.

A conversation…! We’re having a conversation! Ahhh… I’m so excited but I have to keep my cool. 

“You cut the flowers with those scissors, why? Does that not hurt them?”

“Ah! It’s a process called pruning… “ She snips her scissors up toward me. She turns around and beckons me to one of the many bushes. I follow suit.

“These… are buds. It’s where the flower grows from. We prune them for many reasons, but most of the time it’s because the flower or stem is diseased.”

I’m smiling so much right now, I can’t contain myself. So much stimulation just from a little conversation. I laugh a bit, out loud.

“Hmmm…?” She looks up at me, hearing my light laughter.

I quickly blush, becoming a bit embarrassed. “S-sometimes… It’s the little things that bring me happiness…” My signature phrase comes out, resulting in a large smile formulating on my face.

The girl looks at me, and reflects my smile. “Do you like hydrangeas, too?”

“I-I think I do?”

The girl erupts into laughter, and I can’t help but join in.

“You think? Well, maybe you should think a little more… about the kinds of flowers you like. And maybe the kinds of things you say, as well?”

She lightly teases me, before standing up. “Do you have any other questions about these flowers?”

I think. An important question… yet familiar. “Do ''you'' like hydrangeas?”

I reflect her question back on her. Her expression grows warm, as if I can see the colors of her mood changing before me.

“I do… They bring me a lot of my own happiness, too.” I think back to what I said earlier and smile again. “In the rain… they are so beautiful too! It makes me think of…” She pauses. “Tears of joy, or maybe the feeling of contentment. They are so… simple. Y’know it’s not just people that can talk… These flowers can too. And when you listen close enough, you find out that they have a lot to say.”

“I’m not sure I can understand…”

“That’s okay, we all have to start somewhere.” She smiles mischievously, before walking toward the shed. “We have about 5 minutes to class, you know…? What’s your name?”

I panic over the fact that we have so little time, partially because my class is on the opposite side of where we are now. “I-I’m Akio…” 

“Well, Akio, thanks for talking to me… I’ll see you around!”

“Same to you!”

I walk back to the glass door before looking toward her again. She’s working in the shed, putting her tools away. I open the door inside. For some reason, leaving that rainy hydrangea world hurt me when I walked inside. As if the dryness was worse than rain…

—----------------------------------------------------------------------------------------------------------------------------

'''Date: 2018/07/21'''

'''Today, when I was tending to the hydrangeas, a boy approached me and asked me about them. I was nervous at first, because I didn’t know what he wanted.'''

'''He wanted to ask about the flowers I was tending to, and why I was pruning them. We talked a little bit after this. He seems interesting… yet suspicious! I will keep an eye out…'''

'''Again, me and Mom fought. It hurts a lot when we fight, I say things that I don’t mean to say. She wants me to do so many things, but I’m just one person. I think she’s just living through me… I love her, but I want to be my own person. Making my own choices and decisions.'''

'''School was bland, except for the gardening club (as usual)! We have a field trip to a sunflower field coming up. It’s always so beautiful to see those fields in the summer… I hope the skies are blue that day. Maybe me and the club members can take photographs.'''

'''Ahh… I CAN’T WAIT!'''

'''Sincerely (again),'''

'''Hana'''

That night when I got home, I plopped back on my bed. Hours of lecturing and note-taking always takes quite a toll on me. Well, mostly everyone else too. If you think any of that is fun, I must commend you. My bookbag slid onto the floor as I unbuttoned my uniform. I felt a bit too lazy to do anything else other than rest. I noticed a pencil was sticking from my shirt pocket, if left unnoticed it might’ve poked me. I removed it, and threw it across the room. Just cause?

Downstairs, I could hear the door open and close. “Akio, we’re home!” My mother called. “Welcome back.” I didn’t really attempt to yell this so I’m not too certain as to if the both of them actually heard that.

“Man…” I thought back to earlier this morning, when me and… And…? “Ah!” I exclaimed aloud, recognizing my mistake. I forgot to ask her name. I wonder?

“Akane? Hmm, maybe too harsh…” A soft complexion, warm smile… a love of flowers?

“Aki… Akemi…” Maybe I shouldn’t focus on A’s so much. Yet that letter seems like it would make some sense.

I kept deliberating as to what her name could potentially be before my thinking was interrupted. I heard a knock at the door. “Akio?” 

“Yeah, Mom?”

“I didn’t hear you welcome us, so I thought maybe you were out? You surprised me…”

“Sorry. ‘Welcome Home!’”

“Don’t tease! How was school?”

“Better than usual… Aside from the rain maybe.”

“Oho? Anything new happen?”

I thought back to how I expressed meeting the girl in the garden as ‘entering a painting.’

“‘Things may look up in your favor’” I said, like reading a fortune cookie.

“Very funny. Well, I’m glad…” My mom flashes me a warm smile, before leaving the room and closing the door.

“Don’t forget, this weekend is the festival in town. Your father and I will be going, you can come along too if you’d like?” She speaks through the door.

“Hmm… Maybe. Let me think about it.”

“Okay.”

I hear her footsteps as she makes her way down the stairs. I look up at the ceiling and use my body weight to launch myself from the comfort of my bed. I trudge over to my bookbag and collect a few slips of homework and textbooks.

“Time for the long haul…”

A few hours pass, as I complete sheet after sheet. I’m careful to review what we learned from our textbooks. My hand grows tired of writing and my eyes get weary. I look up at the clock.

10:32 PM. Yeesh, it’s rather late now. Best to get to sleep.

I close my blinds, and shut the curtains before making my final approach to the blanket kingdom that is my bed. It’s warm and fuzzy, and makes me smile with contentment. I hope that this feeling lasts forever.

Next week… Can’t come any sooner…

Maybe…

Sleep takes me before I can finish my thought.

'''CHAPTER 2''':

“...” 

My classroom door is shut, it seems the teacher has yet to arrive. I really have to stop getting here so early. The hallway seems rather barren this morning. Yet again, the rain continues and won’t let up. Even if it’s monsoon season, I want at least one sunny day, y’know? 

I sit down next to the door and put my bookbag next to me, I feel rather sleepy. The fatigue from last night’s battle still sits on my shoulders. “Hahhh…”

“Tired today, Akio?” A voice stirs me, yet my eyes remain closed. “Mmm…”

Wait. Who’s voice is that? I open my eyes and turn to see who spoke.

“Ah!” I yelp, accidentally. I quickly sit up, and try to straighten myself out.

“H-hello! Yes, last night, so much homework… Not much sleep either.”

It was the girl from the garden, and I was very startled. I couldn’t handle the cognitive dissonance of seeing her in the hallway. It was a first, and the fact that she was talking to me exacerbated this feeling a hundredfold. 

“I see. Well, I’m going to my classroom. See ya..!”

The girl makes her way up the hallway, marching with great purpose.

Mgghhh. A brief exchange, yet…

“W-wait…!”

She turns around. She seems a little startled by the amount of force I put into my voice. The hallway was rather empty, save for us two, after all.

“I never… got your name. Might I-I ask what it is?”

“Oh! You’re right! It’s Hana… Can’t believe I never told you. Apologies.”

Hana. Hana. A lot of A’s, huh?

Eventually, the teacher and a few students march up the opposite end of the hallway to our classroom. “Early today, Akio?” The teacher says, as he unlocks the door with her key.

“Something like that…” I responded. I’m admittedly a little embarrassed by what just happened in the hallway, even though it went rather well. An after-effect of love, I suppose.

The door finally opens and the smell of the classroom fills my nose. It’s rather comforting, but also fills me with boredom. The brief period of movement I get from door to chair is simply too little for my antsy legs. Maybe if they made every desk a treadmill it would alleviate the problem. I chuckle to myself at the thought of some of my classmates trying to keep up.

I walk and sit down at my desk, awaiting today’s lesson. A friend of mine, Jiro, turns to me. He had found his desk a bit before me.

“Oi, Akiooo! So early, today? What gives?”

“I’m always early.”

“Pshhh! Sure… Tell that to yourself last week, Mr. 5-minutes-after-the-bell”

“I’ll have you know that is not my last name.”

Me and Jiro have been friends since the start of the school year, we haven’t really known each other long, but due to our desks being in close proximity and our great chemistry, we’ve been able to get really close.

Jiro is rather eccentric and energetic. It’s a great match for my rather calm personality. We’d make a perfect straight man/funny man duo, if we were to pursue comedy.

“Yo, Akio, the festival is coming to town. And… We’ve never even hung out!? Let’s change that!” Jiro flashes a corporate smile, as if he was pitching his company’s product to a stern investor.

“Hmm… My parents asked me about the same thing…”

“It’s me or it’s them, Akio. No in betweens! I thought we had something…” Jiro pretends to tearfully sob, putting me in a rather awkward situation. Other students settling in begin to look at us. 

“Ok, ok… Maybe I’ll go with you, I had a choice to begin with. I’ll have an answer for you by tomorrow.”

“Perfect! It’s a date, then!” Jiro attempts to make his most masculine face, but I can’t help but start laughing.

“Good joke?” Jiro says, smiling lightly.

“More like a good face, that got me.”

“Nihihi!” Jiro’s face reminds me of a cat when he does this.

After this exchange, the teacher begins to give some announcements before class. Some of them pertaining to festival safety, seeing as a great majority of us would be in attendance. Others included information about clubs, the coming exams, and career documents.

All of us were in 12th grade, so after this, it was time to move on to the big world and get to work. Honestly, anytime I would hear anything about career forms or schooling after high school would always scare me. I was worried about putting myself out there in the world, afraid of what might come from that. Knowing that everyone else would have to face the same thing, it did make me feel a bit better. That light knot in my stomach still wouldn’t go away, however.

The class passed by, uneventfully. The teacher talked in great detail about some wars, called on a few clueless students, and sighed a great many times. The typical class experience. Jiro got the golden ticket today, he was sleeping when he was called on. I’ve never seen a stick of chalk fly so fast and hit so hard. I could’ve sworn that he would be sent flying, but he started holding his head in pain. I laughed, but quickly fixed my expression when he looked at me with “the stare of a thousand deaths.”

As we all began to walk out of the classroom after the bell, the hallways were flooding with oceans of students. Luckily, I had a boat and paddle to bear the waves. Or, maybe just experience? 

'''*'''

The rest of the school day passed by, the classes got faster with each one that came and went. I put my shoes on, and walked out from the entrance. It was cloudy today, but there was no rain. Maybe it’s really starting to grow on me. The rain usually maddens and annoys me, but this year I want to see it more than ever. 

Is it because of her? What even are these feelings of mine? Is it appropriate to attribute them to a real person? I would stare and stare at her in that garden, as if admiring a beautiful landscape portrait in a museum. When we talked those two times, I was so nervous I could barely keep it together. I don’t view myself as someone who’s lacking in confidence, or has low self-esteem, but her presence is almost choking. And it’s my own fault. The more I pedestalize her, the worse those interactions will get.

I’ve already confirmed it myself, in that garden. Hana is as real as those flowers. As real as the rain. Flesh, blood, bone. Breathing, beating, human. She gets sick, uses the bathroom, and makes mistakes.

“Maybe I’ve been thinking about this wrong…” I say aloud, albeit accidentally. I think it’s okay to be curious about who she is. I have to leave this mindset behind if I want to keep talking to her. I don’t really have much of a reason though, except for that I just want to. Life is funny, in that way. Sometimes we just want to do something, and we don’t really have to explain why. Rather comforting. 

On a whim, I decided to visit the garden today before I made the trek home. Walking to the side gate this time, I opened it and once again found myself at the whim of these flowers. I was half expecting people to be here, seeing as it is after-school, but there was no one to be found. It was rather ethereal. The scene was similar to yesterday’s, but it possessed much more weight. Perhaps it was because I was alone. I could be off my guard, in this beautiful place.

I walked by the hydrangea bushes, and touched their leaves. They can talk, huh? I move my hand gently to the flower and feel the petals. They are silky and soft, and a bit warm. Not too far off from human skin. The flower was a bright, light purple. It swayed with each touch, despite my light movements. As a joke, I put my ear up to the flower, as if to listen to what it was trying to tell me. A gust of wind blows through, and the flower hits my head a few times. Maybe it doesn’t like me too much? Upon realizing this, I burst into laughter. 

“Silly little flowers, maybe we’re equals after all?”

Before my exit, I wave and bow courteously for the flowers and open the garden gate. Much to my surprise, a few gardening club members stood on the other side of the opening. This moment was admittedly, rather embarrassing. For one, I really hope they didn’t hear me talking to those flowers. For two, am I allowed back here? I didn’t ever really think about that.

I gaze at each of their startled faces, and yet, Hana’s isn’t there. I am a bit disappointed, I let out a little sigh.

“W-what brings you to the garden?” One of the members perks up, a small boy who appears to be a bit nervous about the encounter. The other two girls look toward him and then back at me, expectant of an answer.

“I hope I wasn’t breaking any rules by being in there, I was just ta- …loo-king at the flowers? Is that okay?” I didn’t mean to sound so apologetic, but it came out rather emotional anyway.

“No, that won’t be an issue. As long as all flowers are accounted for.” One of the two girls speaks, and gives a bit of a stern answer. She still seems suspicious about my presence.

“Mei… No need to be so harsh, he doesn’t seem so bad after all.” The last girl speaks softly to the more brusque one, and gives a warm smile. I don’t know how to explain it, but I’m thanking her to high heaven right now. Who knows what would be in store for me had she not been here. My ears probably would’ve fallen off. 

“S-sorry again, I wasn't trying to cause any trouble.” I make my way past the exit, and attempt to pass by the three of them. I’m successful, but I stop and turn around hesitantly.

“I love the garden, please don’t stop talking with those flowers.”

I realize that’s not exactly what I wanted to say, and in my intense embarrassment I turn around and continue home. From behind me, I could hear the group laughing a bit. I could’ve swore I heard her name too…

—----------------------------------------------------------------------------------------------------------------------------

'''Date: 2018/07/29'''

'''A slower day than usual. Today was the last day of classes, meaning that we don’t come back until September. The festival will be starting tomorrow, as well. The week after, I FINALLY get to go on the sunflower trip. I am unbelievably excited for it.'''

'''I don’t have much else to say. Thanks, I guess?'''

'''Sincerely (again),'''

'''Hana'''

Today, we had the festival. I had inevitably let my parents know that instead of going with them, I would be going with Jiro. They didn’t seem disturbed by that fact, which was nice. Maybe even a little happy that they got to have some alone time. I guess this would be a win-win situation?

I had called Jiro a little while ago to confirm where we would meet before making the commute. It would be about a ten minute walk. Thank the heavens the sun is setting, or I don’t think I would’ve made it to the 5 minute mark. I was thinking of coming in my kimono, but it was much too hot to wear something like that. Decidedly, I just went with my plain clothes. 

I waited a few more hours for 5:50 to come around before leaving my house. The festival started at 6:30, but we wanted to look around a bit before it began. I made the trek outside of my front door and walked to the side of the road. Despite the sun going down, it was still unbearably hot. I raised my hand to cover my eyes while walking in the sun’s gaze. 

A few neighbors appeared to be preparing themselves for the festival as well. We lived in a rather small town, so most of the people around here prepared themselves for things like these.  [[User:IvoctA|IvoctA]] ([[User talk:IvoctA|discuss]] • [[Special:Contributions/IvoctA|contribs]]) 19:39, 16 September 2023 (UTC)

== Hello!  Wikijournal chat?   ==

Happy new year :)  Long time.

I just saw you've been working with WikiJournal; how are you finding this format and process?  What are the bottlenecks at the moment, what else might be possible?  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 14:35, 25 January 2024 (UTC)

:Hey Sj, good morning.
:My submission for WJ has been quite slow due to IRL commitments, but I've had good experiences so far. One of the WJ reviewers was nice enough to give me and my buddy solid advice on how to improve our journal for submission, so I was pleased with that. The discussion at [[Talk:WikiJournal_User_Group#Current_status_of_WikiJournals]] is concerning, though, and I hope WJ will continue to be in operation. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:21, 25 January 2024 (UTC)

== ''The Signpost'': 31 January 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/News and notes|Wikipedian Osama Khalid celebrated his 30th birthday in jail]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Opinion|Until it happens to you]]

* Disinformation report: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Disinformation report|How paid editors squeeze you dry]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/In the media|Katherine Maher new NPR CEO, go check Wikipedia, race in the race]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/In focus|The long road of a featured article candidate, part 2]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Recent research|Croatian takeover was enabled by &quot;lack of bureaucratic openness and rules constraining [admins]&quot;]]

* Comix: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Comix|We've all got to start somewhere]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Traffic report|DJ, gonna burn this goddamn house right down]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 15:17, 31 January 2024 (UTC)
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== Invitation to discuss page deletion policy ==

A discussion that might interest you has been started at [[Wikiversity:Requests_for_Deletion#Wikiversity:Deletion_Convention_2024]]. -- [[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 17:49, 15 February 2024 (UTC)

:{{ping|Guy vandegrift}} Hello Guy vandegrift, I appreciate you thinking about me and reaching out to me for my thoughts. I'm afraid I will have to echo Dave's response and abstain from formulating any suggestions, since I do not have the needed time to review the discussion. Best of luck. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:35, 17 February 2024 (UTC)

== Movie reviews ==

'''[[Paris, Texas]]''' is under a prod and when I found '''[[Book Reviews]]''' I thought of copying and creating a page called [[Movie reviews]].  I obviously don't need your permission (cc-by!), but was wondering what you thought of that idea. Any chance of attracting new movie reviews? ... Another idea would be to create a subspace under [[Essay]], with a subpage that links to [[Book reviews]].  [[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 09:54, 1 March 2024 (UTC)--Afterthought: See '''[[Essay/Collection]]'''-[[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 10:09, 1 March 2024 (UTC)

:Movie reviews would be interesting. It can be educational, but also promotional. Personally, I don't have interest in producing movie reviews - but setting it up for future users in the hopes it is developed in accordance with our guidelines does not sound like a bad idea. I think putting [[Book Reviews]] under an &quot;Essay&quot; subspace would be redundant (and provide exceptionally long page titles), and that may be the same for Movie reviews. I would lean towards making it a stand alone project and, if issues arise, we can address them when we cross that bridge. Thanks. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 00:15, 2 March 2024 (UTC)

::I am astonished by the success of [[Book Reviews]], but noticed one odd features: Certain titles are not shown on the front page. One example is [[Book_Reviews/A_Hero_of_Our_Time|A Hero for Our Time]]. I traced the problem to the dynamicpagelist and its count variable.  I think I can fix that feature.  Do you want me to?--[[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 11:23, 2 March 2024 (UTC)
:::Of course, go for it! Thank you in advance. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:30, 2 March 2024 (UTC)

== ''The Signpost'': 4 September 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/News and notes|WikiCup enters final round, MCDC wraps up activities, 17-year-old hoax article unmasked]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/In the media|AI is not playing games anymore. Is Wikipedia ready?]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Recent research|Simulated Wikipedia seen as less credible than ChatGPT and Alexa in experiment]]

* News from the WMF: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/News from the WMF|Meet the 12 candidates running in the WMF Board of Trustees election]]

* Wikimania: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Wikimania|A month after Wikimania 2024]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Serendipity|What it's like to be Wikimedian of the Year]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Traffic report|After the gold rush]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Humour|Local man halfway through rude reply no longer able to recall why he hates other editor]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 13:32, 4 September 2024 (UTC)
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== ''The Signpost'': 26 September 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/In the media|Indian courts order Wikipedia to take down name of crime victim, and give up names of editors]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Serendipity|A Wikipedian at the 2024 Paralympics]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Opinion|asilvering's RfA debriefing]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/News and notes|Are you ready for admin elections?]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Gallery|Are Ludd''ai''tes defending the English Wikipedia?]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Recent research|Article-writing AI is less &quot;prone to reasoning errors (or hallucinations)&quot; than human Wikipedia editors]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Traffic report|Jump in the line, rock your body in time]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 20:16, 26 September 2024 (UTC)
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== ''The Signpost'': 19 October 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/News and notes|One election's end, another election's beginning]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Recent research|&quot;As many as 5%&quot; of new English Wikipedia articles &quot;contain significant AI-generated content&quot;, says paper]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/In the media|Off to the races! Wikipedia wins!]]

* Contest: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Contest|A WikiCup for the underdeveloped world]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Traffic report|A scream breaks the still of the night]]

* Book review: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Book review|''The Editors'']]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Humour|The Newspaper Editors]]

* Crossword: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Crossword|Spilled Coffee Mug]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 11:18, 19 October 2024 (UTC)
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== ''The Signpost'': 6 November 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editors: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/From the editors|Editing Wikipedia should not be a crime]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/News and notes|Wikimedia Foundation shares ANI lawsuit updates; first admin elections appoint eleven sysops; first admin recalls opened; temporary accounts coming soon?]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/In the media|An old scrimmage, politics and purported libel]]

* Special report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Special report|Wikipedia editors face litigation, censorship]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Gallery|Why you should take more photos and upload them]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/In focus|Questions and answers about the court case]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Traffic report|Twisted tricks or tempting treats?]]

* Technology report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Technology report|Wikimedia tech, the Asian News International case, and the ultra-rare BLACKLOCK]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Humour|Man quietly slinks away from talk page argument after realizing his argument dumb, wrong]]

&lt;/div&gt;
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== ''The Signpost'': 18 November 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/News and notes|Open letter to WMF about court case breaks one thousand signatures, big arb case declined, U4C begins accepting cases]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/In the media|Summons issued for Wikipedia editors by Indian court, &quot;Gaza genocide&quot; RfC close in news, old admin Gwern now big AI guy, and a &quot;spectrum of reluctance&quot; over Australian place names]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/Recent research|SPINACH: AI help for asking Wikidata &quot;challenging real-world questions&quot;]]

* News from the WMF: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/News from the WMF|Wikimedia Foundation and Wikimedia Endowment audit reports: FY 2023–2024]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/Traffic report|Well, let us share with you our knowledge, about the electoral college]]

&lt;/div&gt;
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== Page called Food Tests ==

Hello there,

I am contributing to the Food Tests page and I would like to inform you that we are currently expanding the page, and we are constantly adding new features to it. Please do not nominate the page for deletion any more throughout its improvement. This was just a kind notice.

[[Food Tests]]

Kind regards,

Rock

[[User:RockTransport|RockTransport]] ([[User talk:RockTransport|discuss]] • [[Special:Contributions/RockTransport|contribs]]) 20:40, 4 December 2024 (UTC)

:{{ping|RockTransport}} Hey Rock, no need to worry. You have around 3 months or so to improve the content of the page, and I'm sure with your intentions stated here you'll be able to provide content to the page that would suffice [[Wikiversity:What is Wikiversity?|our objectives]] by the 'deadline'. Thank you for your contributions and [[Template:Welcome|welcome to Wikiversity]] (make sure to check this page out for some useful tips for beginners)! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 23:06, 4 December 2024 (UTC)

== ''The Signpost'': 24 December 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/News and notes|Responsibilities and liabilities as a &quot;Very Large Online Platform&quot;]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Op-ed|Beeblebrox on Wikipediocracy, the Committee, and everything]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Opinion|Graham87 on being the first-ever administrator recall subject]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/In the media|Delhi High Court considers ''Caravan'' and ''Ken'' for evaluating the ANI vs. WMF case]]

* From the archives: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/From the archives|Where to draw the line in reporting?]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Recent research|&quot;Wikipedia editors are quite prosocial&quot;, but those motivated by &quot;social image&quot; may put quantity over quality]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Humour|Backlash over Santa Claus' Wikipedia article intensifies]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Gallery|A feast of holidays and carols]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Traffic report|Was a long and dark December]]

&lt;/div&gt;
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== Wikiversity Newsletter ==

Hello Atcovi,
Would you mind if I included your course, that was featured on Main Page/News into the Wikiversity Newsletter, and giving a brief overview about it? 
Regards,
Rock [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  16:25, 6 January 2025 (UTC)

:{{ping|RockTransport}} That's fine. Take note that it isn't a course, it's just an essay. Thanks, —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 17:28, 6 January 2025 (UTC)
::Thanks, but on second thought, i might not add it due to the sensitive content mentioned, however, is promotion of Wikiversity's content allowed as part of the newsletter? [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  18:28, 6 January 2025 (UTC)
:::Well, promotion in terms of a basic description of the resource in question should be fine. I would assume it would be redundant to have them written out like an &quot;advertisement&quot;, but a basic description of the resource seems to be an educational benefit to the community. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:39, 7 January 2025 (UTC)
::::Thanks for your reply. -  [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:32, 8 January 2025 (UTC)
:::::And also, if you wanted to add your own [[User:RockTransport/Wikiversity Newsletter|description]] on the subject, you may do so. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:47, 8 January 2025 (UTC)

== Linking your YouTube account ==

Hello Atcovi,

On Wikiversity, is it allowed (or accepted) to link your personal YouTube account?

Kind regards,

Rock [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  19:12, 9 January 2025 (UTC)

:Hi RockTransport! Depends, though I'd personally discourage. Did you have a specific instance in mind? —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:32, 9 January 2025 (UTC)
::Yes, I was thinking of linking my YouTube account, so that's why I was wondering. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  08:39, 10 January 2025 (UTC)
:::If it is on your userpage, I don't see a problem with it, but if it is linked on the resources you're creating in the mainspace, it opens doors to potential solicitation, so I'd advise against the latter. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:40, 10 January 2025 (UTC)
::::Thanks. I was planning on doing it on my userpage. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  16:54, 10 January 2025 (UTC)
:::::No problem with that AFAIK. Thank you for checking! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:05, 10 January 2025 (UTC)

== ''The Signpost'': 15 January 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editors: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/From the editors|Looking back, looking forward]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Traffic report|The most viewed articles of 2024]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/In the media|Will you be targeted?]]

* Technology report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Technology report|New Calculator template brings interactivity at last]]

* Essay: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Essay|Meet the Canadian who holds the longest editing streak on Wikipedia]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Opinion|Reflections one score hence]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/News and notes|It's a new dawn, it's a new day, it's a new life for me... and I'm feeling free]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Serendipity|What we've left behind, and where we want to go next]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Op-ed|Elon Musk and the right on Wikipedia]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/In focus|Twenty years of The Signpost: What did it take?]]

* Arbitration report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Arbitration report|Analyzing commonalities of some contentious topics]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Humour|How to make friends on Wikipedia]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 07:58, 15 January 2025 (UTC)
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== Wikiversity Newsletter - Feedback ==

Hello Atcovi,

Could you give some feedback on the [[User:RockTransport/Wikiversity Newsletter|Wikiversity Newsletter]] if you want to/ if it's possible. This is because I plan on publishing it by the end of the month, and so I could expand the newsletter based on the feedback given.

Kind regards,

[[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  13:47, 18 January 2025 (UTC)

:Hi Rock Transport, I've made a few modifications. Feel free to tweak them if you desire. Thanks! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:09, 18 January 2025 (UTC)
::Thanks for helping @[[User:Atcovi|Atcovi]], have a great day! [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:13, 18 January 2025 (UTC)

== Signatures - citation? ==

Hello {{PAGENAME}},
On Wikiversity, for signatures, do we give a citation if we used inspiration from Wikipedia's Signatures page? I did it just to be safe, but I want to make sure.
[[User:RailwayEnthusiast2025|&lt;span style=&quot;color:green;&quot;&gt;'''''RailwayEnthusiast2025'''''&lt;/span&gt;]] ([[User talk:RailwayEnthusiast2025|talk page]]|[[Special:Contributions/RailwayEnthusiast2025|contribs]]) 16:24, 24 January 2025 (UTC)

:Good afternoon RailwayEnthusiast2025. No, not at all. You can if you want, but there is no obligation to do so. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 17:01, 24 January 2025 (UTC)
::Thanks for your reply. [[User:RailwayEnthusiast2025|&lt;span style=&quot;color:green;&quot;&gt;'''''RailwayEnthusiast2025'''''&lt;/span&gt;]] ([[User talk:RailwayEnthusiast2025|talk page]]-[[Special:Contributions/RailwayEnthusiast2025|contribs]]) 17:03, 24 January 2025 (UTC)

== ''The Signpost'': 22 March 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editor: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/From the editor|''Hanami'']]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/News and notes|Deeper look at takedowns targeting Wikipedia]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/In the media|The good, the bad, and the unusual]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Recent research|Explaining the disappointing history of Flagged Revisions; and what's the impact of ChatGPT on Wikipedia so far?]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Traffic report|All the world's a stage, we are merely players...]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Gallery|WikiPortraits rule!]]

* Essay: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Essay|Unusual biographical images]]

* Obituary: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Obituary|Rest in peace]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 03:12, 22 March 2025 (UTC)
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== ''The Signpost'': 9 April 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* Special report: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Special report|Wikipedian and physician Ziyad al-Sufiani reportedly released from Saudi prison]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/In focus|WMF to explore &quot;common standards&quot; for NPOV policies; implications for project autonomy remain unclear]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/In the media|Indian judges demand removal of content critical of Asian News International]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/News and notes|35,000 user accounts compromised, locked in attempted credential-stuffing attack]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Op-ed|How crawlers impact the operations of the Wikimedia projects]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Opinion|Crawlers, hogs and gorillas]]

* Debriefing: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Debriefing|Giraffer's RfA debriefing]]

* Obituary: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Obituary|RHaworth, TomCat4680 and PawełMM]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Traffic report|Heigh-Ho, Heigh-Ho, off to report we go...]]

* News from Diff: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/News from Diff|Strengthening Wikipedia’s neutral point of view]]

* Comix: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Comix|Thirteen]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 18:26, 9 April 2025 (UTC)
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== Potential suicide risk - need admin assistance ==

Hello,

I am writing to report a potentially concerning post on Wikiversity « Should suicide be legal? »

The user appears at the very end of the chat


Thank you very much for your help. [[User:Cl51RLM2013|Cl51RLM2013]] ([[User talk:Cl51RLM2013|discuss]] • [[Special:Contributions/Cl51RLM2013|contribs]]) 18:37, 12 June 2025 (UTC)</text>
      <sha1>ani6oxnnr5rfs8nn4c3ltq4izjeo5gd</sha1>
    </revision>
    <revision>
      <id>2718402</id>
      <parentid>2718401</parentid>
      <timestamp>2025-06-12T18:43:04Z</timestamp>
      <contributor>
        <username>Cl51RLM2013</username>
        <id>3003470</id>
      </contributor>
      <comment>/* Potential suicide risk - need admin assistance */ Reply</comment>
      <origin>2718402</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="57548" sha1="9jn8m086doi3q3vxablk9qpf07u3wot" xml:space="preserve">[[User:Atcovi/Archive 1|/Archive 1 (September 25, 2013 - November 15, 2013)]] • [[User talk:Atcovi/Archive 2|/Archive 2 (November 15, 2013 - November 27, 2013)]] • [[User talk:Atcovi/Archive 3|/Archive 3 (December 3, 2013 - December 25, 2013)]] • [[User talk:Atcovi/Archive 4|/Archive 4 (December 24, 2013 - January 1, 2014)]] • [[User talk:Atcovi/Archive 5|/Archive 5 (January 2, 2014 - January 20, 2014)]] • [[User talk:Atcovi/Archive 6|/Archive 6 (March 24, 2014 - April 14, 2014)]] • [[User talk:Atcovi/Archive 7|/Archive 7 (April 19, 2014 - September 8, 2014)]] • [[User talk:Atcovi/Archive 8|/Archive 8 (September 12, 2014 - November 3, 2014)]] • [[User talk:Atcovi/Archive 9|/Archive 9 (November 6, 2014 - January 26, 2015)]] • [[User talk:Atcovi/Archive 10|/Archive 10 (January 28, 2015 - March 11, 2015)]] • [[User talk:Atcovi/Archive 11|/Archive 11 (March 22, 2015 - June 25, 2016)]] • [[User talk:Atcovi/Archive 12 (June 26, 2016 - January 8, 2018)|/Archive 12 (June 26, 2016 - January 8, 2018)]] • [[User talk:Atcovi/Archive 13 (January 9, 2018 - April 14, 2023)|/Archive 13 (January 9, 2018 - April 14, 2023)]]

:''Before 2013: [https://en.wikiversity.org/w/index.php?title=User_talk:Atcovi&amp;diff=750617&amp;oldid=740650 see this]'' 
{{tmbox
|small = 
|image = [[Image:Busy desk.svg|{{#ifeq:|yes|40px|75x50px}}]]
|text = This user is busy in [http://en.wikipedia.org/wiki/Real_life Real Life] {{#if:|until&amp;nbsp;{{{end}}}&amp;nbsp;}}{{#if:|due to&amp;nbsp;{{{reason}}}&amp;nbsp;}}and may not respond swiftly to queries.{{#if:|&lt;P&gt;{{{msg}}} }} 
| style     = {{#if:|width: {{{width}}}px;}} {{#ifeq:{{{shadow}}}|yes|{{box-shadow|0px|2px|4px|rgba(0,0,0,0.2)}}|}}
}}

== Hydrangeas and Me (Short Story in Progress) ==

'''CHAPTER 1''':

It was a rainy Monday morning. The overcast clouds brought about a wave of light gray over the world, allowing the rain its refuge from the harsh sun. I woke up earlier than usual, due to the incessant knocking of light rain on my window. I rose from my bed, spread open the curtains, and raised the blinds. I looked outside, admittedly a bit upset about the current state of weather, and stepped down to change into my school uniform. 

The walk to school would prove a bit more difficult today because of the light spray, so I prepared my best umbrella and opened the door, ready to face the world. Each of my steps pittered and pattered. Water began to soak through my sole to my foot, giving me quite an icky feeling. I walked, feeling as if sponges had been rubber banded to my feet. I saw other students making the commute as well. Some of them rose their feet in comedic ways to avoid all the water, to no avail. Others ignored the puddles and continued forward. ''Rather courageous…'' I thought to myself, smiling lightly. Little moments like these can bring happiness, even in this less-than-desired weather.

Eventually, me and the other hoards of students successfully made their way to the front gate. Some teachers decided to move under the canopy of the school’s main entrance, instead of their typical formation at the school’s gate. As I entered the canopy, I closed my umbrella and shook off the rain on the tiles in front of the glass door. Some other students mimicked my behavior and I laughed, albeit embarrassingly. I walked into the school, put my umbrella on the stand and marched toward my shoe locker before changing into the inside schools that were required of us.

''Today… I hope…'' Unlike the other mundane days, today was a lot more exciting. She would be there, in the garden of hydrangeas. After the change, I noted the time. 7:30. I would have a good amount of time to see her. I rushed with a silly look on my face to the library. Toward the back, there were several large windows which looked out upon the gardening club’s area of operation. I made sure to pick a table that was close to the windows. I turned my head outside, and like clockwork, she stood there tending to the flowers.

Today, because of the rain, she wore a little umbrella cap supplied to the club to fend off the rain. She stood and cut stems with tiny gardening scissors. Her look was focused, yet soft. She didn’t seem like she wanted to injure the flowers, as if they meant everything to her. Each movement and cut, every one seemed to take special care toward the hydrangeas. I sat holding my head up with one hand watching her. Today’s view was particularly beautiful. Maybe the rain isn’t so bad for today. 

The girl in the garden walked toward the shed to grab a few more tools. There were about 20 more minutes until the first bell would ring. Despite that, she continued to work. Her soft look and gaze had enraptured me, it reminded me of more innocent times. It reassured me, and it calmed me. Everytime I did this, I would feel so tired and relaxed. I wish I could watch for hours. Today, I want to change things. I don’t want to watch from afar anymore. I wish to know more about this girl who tends to the garden. What kind of flowers does she like? How long has she been tending to this garden? Many, many questions trying to flow out to reach their answered counterparts. 15 minutes left, if I want to do this I better act fast.

Tens of days spent watching, relaxed, for it suddenly to turn to stress and anxiety. Would she accept me? Is this her own personal time I'm trying to infringe upon? Each doubt weighed my steps like ankle weights, but despite it all, I continued forward. I opened the glass door and went outside, with no umbrella. The rain was rather light, so it didn’t pose much of a threat to my clothing. Upon opening the door, the girl in the garden noticed my entrance. Suddenly the image became reality, like entering a painting. The smell of dirt and flowers, mixed with rain. Her appearance is much more real.

“H-hello…” I stammer, honestly not knowing what else to say.

“Hi! What brings you to the garden, were you interested in joining the club?” She directs that typical soft smile in my direction. It’s very hard to not turn away from such a bright light. The rain complemented her well, like a warm bowl of porridge. 

What should I say? I hadn’t intended on joining this club, but what do I say aside from that? However, I don’t want to lie…

“I wanted… to talk to you. To ''see'' you.” Ehhh… that’s not right.

The girl’s expression seems to lighten, giving me a good chance to make eye contact. She seems a bit confused.

“Do we know each other? I don’t remember ever seeing you in class… I’m sorry…”

“The hydrangeas, I mean. I want to talk to you about the hydrangeas.”

Her quizzical expression turns even brighter than the one she showed me first.

“Oh! What would you like to know?” she’s smiling brightly, and tilts forward a bit waiting for my response.

A conversation…! We’re having a conversation! Ahhh… I’m so excited but I have to keep my cool. 

“You cut the flowers with those scissors, why? Does that not hurt them?”

“Ah! It’s a process called pruning… “ She snips her scissors up toward me. She turns around and beckons me to one of the many bushes. I follow suit.

“These… are buds. It’s where the flower grows from. We prune them for many reasons, but most of the time it’s because the flower or stem is diseased.”

I’m smiling so much right now, I can’t contain myself. So much stimulation just from a little conversation. I laugh a bit, out loud.

“Hmmm…?” She looks up at me, hearing my light laughter.

I quickly blush, becoming a bit embarrassed. “S-sometimes… It’s the little things that bring me happiness…” My signature phrase comes out, resulting in a large smile formulating on my face.

The girl looks at me, and reflects my smile. “Do you like hydrangeas, too?”

“I-I think I do?”

The girl erupts into laughter, and I can’t help but join in.

“You think? Well, maybe you should think a little more… about the kinds of flowers you like. And maybe the kinds of things you say, as well?”

She lightly teases me, before standing up. “Do you have any other questions about these flowers?”

I think. An important question… yet familiar. “Do ''you'' like hydrangeas?”

I reflect her question back on her. Her expression grows warm, as if I can see the colors of her mood changing before me.

“I do… They bring me a lot of my own happiness, too.” I think back to what I said earlier and smile again. “In the rain… they are so beautiful too! It makes me think of…” She pauses. “Tears of joy, or maybe the feeling of contentment. They are so… simple. Y’know it’s not just people that can talk… These flowers can too. And when you listen close enough, you find out that they have a lot to say.”

“I’m not sure I can understand…”

“That’s okay, we all have to start somewhere.” She smiles mischievously, before walking toward the shed. “We have about 5 minutes to class, you know…? What’s your name?”

I panic over the fact that we have so little time, partially because my class is on the opposite side of where we are now. “I-I’m Akio…” 

“Well, Akio, thanks for talking to me… I’ll see you around!”

“Same to you!”

I walk back to the glass door before looking toward her again. She’s working in the shed, putting her tools away. I open the door inside. For some reason, leaving that rainy hydrangea world hurt me when I walked inside. As if the dryness was worse than rain…

—----------------------------------------------------------------------------------------------------------------------------

'''Date: 2018/07/21'''

'''Today, when I was tending to the hydrangeas, a boy approached me and asked me about them. I was nervous at first, because I didn’t know what he wanted.'''

'''He wanted to ask about the flowers I was tending to, and why I was pruning them. We talked a little bit after this. He seems interesting… yet suspicious! I will keep an eye out…'''

'''Again, me and Mom fought. It hurts a lot when we fight, I say things that I don’t mean to say. She wants me to do so many things, but I’m just one person. I think she’s just living through me… I love her, but I want to be my own person. Making my own choices and decisions.'''

'''School was bland, except for the gardening club (as usual)! We have a field trip to a sunflower field coming up. It’s always so beautiful to see those fields in the summer… I hope the skies are blue that day. Maybe me and the club members can take photographs.'''

'''Ahh… I CAN’T WAIT!'''

'''Sincerely (again),'''

'''Hana'''

That night when I got home, I plopped back on my bed. Hours of lecturing and note-taking always takes quite a toll on me. Well, mostly everyone else too. If you think any of that is fun, I must commend you. My bookbag slid onto the floor as I unbuttoned my uniform. I felt a bit too lazy to do anything else other than rest. I noticed a pencil was sticking from my shirt pocket, if left unnoticed it might’ve poked me. I removed it, and threw it across the room. Just cause?

Downstairs, I could hear the door open and close. “Akio, we’re home!” My mother called. “Welcome back.” I didn’t really attempt to yell this so I’m not too certain as to if the both of them actually heard that.

“Man…” I thought back to earlier this morning, when me and… And…? “Ah!” I exclaimed aloud, recognizing my mistake. I forgot to ask her name. I wonder?

“Akane? Hmm, maybe too harsh…” A soft complexion, warm smile… a love of flowers?

“Aki… Akemi…” Maybe I shouldn’t focus on A’s so much. Yet that letter seems like it would make some sense.

I kept deliberating as to what her name could potentially be before my thinking was interrupted. I heard a knock at the door. “Akio?” 

“Yeah, Mom?”

“I didn’t hear you welcome us, so I thought maybe you were out? You surprised me…”

“Sorry. ‘Welcome Home!’”

“Don’t tease! How was school?”

“Better than usual… Aside from the rain maybe.”

“Oho? Anything new happen?”

I thought back to how I expressed meeting the girl in the garden as ‘entering a painting.’

“‘Things may look up in your favor’” I said, like reading a fortune cookie.

“Very funny. Well, I’m glad…” My mom flashes me a warm smile, before leaving the room and closing the door.

“Don’t forget, this weekend is the festival in town. Your father and I will be going, you can come along too if you’d like?” She speaks through the door.

“Hmm… Maybe. Let me think about it.”

“Okay.”

I hear her footsteps as she makes her way down the stairs. I look up at the ceiling and use my body weight to launch myself from the comfort of my bed. I trudge over to my bookbag and collect a few slips of homework and textbooks.

“Time for the long haul…”

A few hours pass, as I complete sheet after sheet. I’m careful to review what we learned from our textbooks. My hand grows tired of writing and my eyes get weary. I look up at the clock.

10:32 PM. Yeesh, it’s rather late now. Best to get to sleep.

I close my blinds, and shut the curtains before making my final approach to the blanket kingdom that is my bed. It’s warm and fuzzy, and makes me smile with contentment. I hope that this feeling lasts forever.

Next week… Can’t come any sooner…

Maybe…

Sleep takes me before I can finish my thought.

'''CHAPTER 2''':

“...” 

My classroom door is shut, it seems the teacher has yet to arrive. I really have to stop getting here so early. The hallway seems rather barren this morning. Yet again, the rain continues and won’t let up. Even if it’s monsoon season, I want at least one sunny day, y’know? 

I sit down next to the door and put my bookbag next to me, I feel rather sleepy. The fatigue from last night’s battle still sits on my shoulders. “Hahhh…”

“Tired today, Akio?” A voice stirs me, yet my eyes remain closed. “Mmm…”

Wait. Who’s voice is that? I open my eyes and turn to see who spoke.

“Ah!” I yelp, accidentally. I quickly sit up, and try to straighten myself out.

“H-hello! Yes, last night, so much homework… Not much sleep either.”

It was the girl from the garden, and I was very startled. I couldn’t handle the cognitive dissonance of seeing her in the hallway. It was a first, and the fact that she was talking to me exacerbated this feeling a hundredfold. 

“I see. Well, I’m going to my classroom. See ya..!”

The girl makes her way up the hallway, marching with great purpose.

Mgghhh. A brief exchange, yet…

“W-wait…!”

She turns around. She seems a little startled by the amount of force I put into my voice. The hallway was rather empty, save for us two, after all.

“I never… got your name. Might I-I ask what it is?”

“Oh! You’re right! It’s Hana… Can’t believe I never told you. Apologies.”

Hana. Hana. A lot of A’s, huh?

Eventually, the teacher and a few students march up the opposite end of the hallway to our classroom. “Early today, Akio?” The teacher says, as he unlocks the door with her key.

“Something like that…” I responded. I’m admittedly a little embarrassed by what just happened in the hallway, even though it went rather well. An after-effect of love, I suppose.

The door finally opens and the smell of the classroom fills my nose. It’s rather comforting, but also fills me with boredom. The brief period of movement I get from door to chair is simply too little for my antsy legs. Maybe if they made every desk a treadmill it would alleviate the problem. I chuckle to myself at the thought of some of my classmates trying to keep up.

I walk and sit down at my desk, awaiting today’s lesson. A friend of mine, Jiro, turns to me. He had found his desk a bit before me.

“Oi, Akiooo! So early, today? What gives?”

“I’m always early.”

“Pshhh! Sure… Tell that to yourself last week, Mr. 5-minutes-after-the-bell”

“I’ll have you know that is not my last name.”

Me and Jiro have been friends since the start of the school year, we haven’t really known each other long, but due to our desks being in close proximity and our great chemistry, we’ve been able to get really close.

Jiro is rather eccentric and energetic. It’s a great match for my rather calm personality. We’d make a perfect straight man/funny man duo, if we were to pursue comedy.

“Yo, Akio, the festival is coming to town. And… We’ve never even hung out!? Let’s change that!” Jiro flashes a corporate smile, as if he was pitching his company’s product to a stern investor.

“Hmm… My parents asked me about the same thing…”

“It’s me or it’s them, Akio. No in betweens! I thought we had something…” Jiro pretends to tearfully sob, putting me in a rather awkward situation. Other students settling in begin to look at us. 

“Ok, ok… Maybe I’ll go with you, I had a choice to begin with. I’ll have an answer for you by tomorrow.”

“Perfect! It’s a date, then!” Jiro attempts to make his most masculine face, but I can’t help but start laughing.

“Good joke?” Jiro says, smiling lightly.

“More like a good face, that got me.”

“Nihihi!” Jiro’s face reminds me of a cat when he does this.

After this exchange, the teacher begins to give some announcements before class. Some of them pertaining to festival safety, seeing as a great majority of us would be in attendance. Others included information about clubs, the coming exams, and career documents.

All of us were in 12th grade, so after this, it was time to move on to the big world and get to work. Honestly, anytime I would hear anything about career forms or schooling after high school would always scare me. I was worried about putting myself out there in the world, afraid of what might come from that. Knowing that everyone else would have to face the same thing, it did make me feel a bit better. That light knot in my stomach still wouldn’t go away, however.

The class passed by, uneventfully. The teacher talked in great detail about some wars, called on a few clueless students, and sighed a great many times. The typical class experience. Jiro got the golden ticket today, he was sleeping when he was called on. I’ve never seen a stick of chalk fly so fast and hit so hard. I could’ve sworn that he would be sent flying, but he started holding his head in pain. I laughed, but quickly fixed my expression when he looked at me with “the stare of a thousand deaths.”

As we all began to walk out of the classroom after the bell, the hallways were flooding with oceans of students. Luckily, I had a boat and paddle to bear the waves. Or, maybe just experience? 

'''*'''

The rest of the school day passed by, the classes got faster with each one that came and went. I put my shoes on, and walked out from the entrance. It was cloudy today, but there was no rain. Maybe it’s really starting to grow on me. The rain usually maddens and annoys me, but this year I want to see it more than ever. 

Is it because of her? What even are these feelings of mine? Is it appropriate to attribute them to a real person? I would stare and stare at her in that garden, as if admiring a beautiful landscape portrait in a museum. When we talked those two times, I was so nervous I could barely keep it together. I don’t view myself as someone who’s lacking in confidence, or has low self-esteem, but her presence is almost choking. And it’s my own fault. The more I pedestalize her, the worse those interactions will get.

I’ve already confirmed it myself, in that garden. Hana is as real as those flowers. As real as the rain. Flesh, blood, bone. Breathing, beating, human. She gets sick, uses the bathroom, and makes mistakes.

“Maybe I’ve been thinking about this wrong…” I say aloud, albeit accidentally. I think it’s okay to be curious about who she is. I have to leave this mindset behind if I want to keep talking to her. I don’t really have much of a reason though, except for that I just want to. Life is funny, in that way. Sometimes we just want to do something, and we don’t really have to explain why. Rather comforting. 

On a whim, I decided to visit the garden today before I made the trek home. Walking to the side gate this time, I opened it and once again found myself at the whim of these flowers. I was half expecting people to be here, seeing as it is after-school, but there was no one to be found. It was rather ethereal. The scene was similar to yesterday’s, but it possessed much more weight. Perhaps it was because I was alone. I could be off my guard, in this beautiful place.

I walked by the hydrangea bushes, and touched their leaves. They can talk, huh? I move my hand gently to the flower and feel the petals. They are silky and soft, and a bit warm. Not too far off from human skin. The flower was a bright, light purple. It swayed with each touch, despite my light movements. As a joke, I put my ear up to the flower, as if to listen to what it was trying to tell me. A gust of wind blows through, and the flower hits my head a few times. Maybe it doesn’t like me too much? Upon realizing this, I burst into laughter. 

“Silly little flowers, maybe we’re equals after all?”

Before my exit, I wave and bow courteously for the flowers and open the garden gate. Much to my surprise, a few gardening club members stood on the other side of the opening. This moment was admittedly, rather embarrassing. For one, I really hope they didn’t hear me talking to those flowers. For two, am I allowed back here? I didn’t ever really think about that.

I gaze at each of their startled faces, and yet, Hana’s isn’t there. I am a bit disappointed, I let out a little sigh.

“W-what brings you to the garden?” One of the members perks up, a small boy who appears to be a bit nervous about the encounter. The other two girls look toward him and then back at me, expectant of an answer.

“I hope I wasn’t breaking any rules by being in there, I was just ta- …loo-king at the flowers? Is that okay?” I didn’t mean to sound so apologetic, but it came out rather emotional anyway.

“No, that won’t be an issue. As long as all flowers are accounted for.” One of the two girls speaks, and gives a bit of a stern answer. She still seems suspicious about my presence.

“Mei… No need to be so harsh, he doesn’t seem so bad after all.” The last girl speaks softly to the more brusque one, and gives a warm smile. I don’t know how to explain it, but I’m thanking her to high heaven right now. Who knows what would be in store for me had she not been here. My ears probably would’ve fallen off. 

“S-sorry again, I wasn't trying to cause any trouble.” I make my way past the exit, and attempt to pass by the three of them. I’m successful, but I stop and turn around hesitantly.

“I love the garden, please don’t stop talking with those flowers.”

I realize that’s not exactly what I wanted to say, and in my intense embarrassment I turn around and continue home. From behind me, I could hear the group laughing a bit. I could’ve swore I heard her name too…

—----------------------------------------------------------------------------------------------------------------------------

'''Date: 2018/07/29'''

'''A slower day than usual. Today was the last day of classes, meaning that we don’t come back until September. The festival will be starting tomorrow, as well. The week after, I FINALLY get to go on the sunflower trip. I am unbelievably excited for it.'''

'''I don’t have much else to say. Thanks, I guess?'''

'''Sincerely (again),'''

'''Hana'''

Today, we had the festival. I had inevitably let my parents know that instead of going with them, I would be going with Jiro. They didn’t seem disturbed by that fact, which was nice. Maybe even a little happy that they got to have some alone time. I guess this would be a win-win situation?

I had called Jiro a little while ago to confirm where we would meet before making the commute. It would be about a ten minute walk. Thank the heavens the sun is setting, or I don’t think I would’ve made it to the 5 minute mark. I was thinking of coming in my kimono, but it was much too hot to wear something like that. Decidedly, I just went with my plain clothes. 

I waited a few more hours for 5:50 to come around before leaving my house. The festival started at 6:30, but we wanted to look around a bit before it began. I made the trek outside of my front door and walked to the side of the road. Despite the sun going down, it was still unbearably hot. I raised my hand to cover my eyes while walking in the sun’s gaze. 

A few neighbors appeared to be preparing themselves for the festival as well. We lived in a rather small town, so most of the people around here prepared themselves for things like these.  [[User:IvoctA|IvoctA]] ([[User talk:IvoctA|discuss]] • [[Special:Contributions/IvoctA|contribs]]) 19:39, 16 September 2023 (UTC)

== Hello!  Wikijournal chat?   ==

Happy new year :)  Long time.

I just saw you've been working with WikiJournal; how are you finding this format and process?  What are the bottlenecks at the moment, what else might be possible?  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 14:35, 25 January 2024 (UTC)

:Hey Sj, good morning.
:My submission for WJ has been quite slow due to IRL commitments, but I've had good experiences so far. One of the WJ reviewers was nice enough to give me and my buddy solid advice on how to improve our journal for submission, so I was pleased with that. The discussion at [[Talk:WikiJournal_User_Group#Current_status_of_WikiJournals]] is concerning, though, and I hope WJ will continue to be in operation. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:21, 25 January 2024 (UTC)

== ''The Signpost'': 31 January 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/News and notes|Wikipedian Osama Khalid celebrated his 30th birthday in jail]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Opinion|Until it happens to you]]

* Disinformation report: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Disinformation report|How paid editors squeeze you dry]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/In the media|Katherine Maher new NPR CEO, go check Wikipedia, race in the race]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/In focus|The long road of a featured article candidate, part 2]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Recent research|Croatian takeover was enabled by &quot;lack of bureaucratic openness and rules constraining [admins]&quot;]]

* Comix: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Comix|We've all got to start somewhere]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Traffic report|DJ, gonna burn this goddamn house right down]]

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== Invitation to discuss page deletion policy ==

A discussion that might interest you has been started at [[Wikiversity:Requests_for_Deletion#Wikiversity:Deletion_Convention_2024]]. -- [[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 17:49, 15 February 2024 (UTC)

:{{ping|Guy vandegrift}} Hello Guy vandegrift, I appreciate you thinking about me and reaching out to me for my thoughts. I'm afraid I will have to echo Dave's response and abstain from formulating any suggestions, since I do not have the needed time to review the discussion. Best of luck. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:35, 17 February 2024 (UTC)

== Movie reviews ==

'''[[Paris, Texas]]''' is under a prod and when I found '''[[Book Reviews]]''' I thought of copying and creating a page called [[Movie reviews]].  I obviously don't need your permission (cc-by!), but was wondering what you thought of that idea. Any chance of attracting new movie reviews? ... Another idea would be to create a subspace under [[Essay]], with a subpage that links to [[Book reviews]].  [[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 09:54, 1 March 2024 (UTC)--Afterthought: See '''[[Essay/Collection]]'''-[[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 10:09, 1 March 2024 (UTC)

:Movie reviews would be interesting. It can be educational, but also promotional. Personally, I don't have interest in producing movie reviews - but setting it up for future users in the hopes it is developed in accordance with our guidelines does not sound like a bad idea. I think putting [[Book Reviews]] under an &quot;Essay&quot; subspace would be redundant (and provide exceptionally long page titles), and that may be the same for Movie reviews. I would lean towards making it a stand alone project and, if issues arise, we can address them when we cross that bridge. Thanks. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 00:15, 2 March 2024 (UTC)

::I am astonished by the success of [[Book Reviews]], but noticed one odd features: Certain titles are not shown on the front page. One example is [[Book_Reviews/A_Hero_of_Our_Time|A Hero for Our Time]]. I traced the problem to the dynamicpagelist and its count variable.  I think I can fix that feature.  Do you want me to?--[[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 11:23, 2 March 2024 (UTC)
:::Of course, go for it! Thank you in advance. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:30, 2 March 2024 (UTC)

== ''The Signpost'': 4 September 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/News and notes|WikiCup enters final round, MCDC wraps up activities, 17-year-old hoax article unmasked]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/In the media|AI is not playing games anymore. Is Wikipedia ready?]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Recent research|Simulated Wikipedia seen as less credible than ChatGPT and Alexa in experiment]]

* News from the WMF: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/News from the WMF|Meet the 12 candidates running in the WMF Board of Trustees election]]

* Wikimania: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Wikimania|A month after Wikimania 2024]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Serendipity|What it's like to be Wikimedian of the Year]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Traffic report|After the gold rush]]

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== ''The Signpost'': 26 September 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/In the media|Indian courts order Wikipedia to take down name of crime victim, and give up names of editors]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Serendipity|A Wikipedian at the 2024 Paralympics]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Opinion|asilvering's RfA debriefing]]

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* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Gallery|Are Ludd''ai''tes defending the English Wikipedia?]]

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== ''The Signpost'': 19 October 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/News and notes|One election's end, another election's beginning]]

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* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/In the media|Off to the races! Wikipedia wins!]]

* Contest: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Contest|A WikiCup for the underdeveloped world]]

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== ''The Signpost'': 6 November 2024 ==

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* From the editors: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/From the editors|Editing Wikipedia should not be a crime]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/News and notes|Wikimedia Foundation shares ANI lawsuit updates; first admin elections appoint eleven sysops; first admin recalls opened; temporary accounts coming soon?]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/In the media|An old scrimmage, politics and purported libel]]

* Special report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Special report|Wikipedia editors face litigation, censorship]]

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== ''The Signpost'': 18 November 2024 ==

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== Page called Food Tests ==

Hello there,

I am contributing to the Food Tests page and I would like to inform you that we are currently expanding the page, and we are constantly adding new features to it. Please do not nominate the page for deletion any more throughout its improvement. This was just a kind notice.

[[Food Tests]]

Kind regards,

Rock

[[User:RockTransport|RockTransport]] ([[User talk:RockTransport|discuss]] • [[Special:Contributions/RockTransport|contribs]]) 20:40, 4 December 2024 (UTC)

:{{ping|RockTransport}} Hey Rock, no need to worry. You have around 3 months or so to improve the content of the page, and I'm sure with your intentions stated here you'll be able to provide content to the page that would suffice [[Wikiversity:What is Wikiversity?|our objectives]] by the 'deadline'. Thank you for your contributions and [[Template:Welcome|welcome to Wikiversity]] (make sure to check this page out for some useful tips for beginners)! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 23:06, 4 December 2024 (UTC)

== ''The Signpost'': 24 December 2024 ==

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* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/News and notes|Responsibilities and liabilities as a &quot;Very Large Online Platform&quot;]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Op-ed|Beeblebrox on Wikipediocracy, the Committee, and everything]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Opinion|Graham87 on being the first-ever administrator recall subject]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/In the media|Delhi High Court considers ''Caravan'' and ''Ken'' for evaluating the ANI vs. WMF case]]

* From the archives: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/From the archives|Where to draw the line in reporting?]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Recent research|&quot;Wikipedia editors are quite prosocial&quot;, but those motivated by &quot;social image&quot; may put quantity over quality]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Humour|Backlash over Santa Claus' Wikipedia article intensifies]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Gallery|A feast of holidays and carols]]

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== Wikiversity Newsletter ==

Hello Atcovi,
Would you mind if I included your course, that was featured on Main Page/News into the Wikiversity Newsletter, and giving a brief overview about it? 
Regards,
Rock [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  16:25, 6 January 2025 (UTC)

:{{ping|RockTransport}} That's fine. Take note that it isn't a course, it's just an essay. Thanks, —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 17:28, 6 January 2025 (UTC)
::Thanks, but on second thought, i might not add it due to the sensitive content mentioned, however, is promotion of Wikiversity's content allowed as part of the newsletter? [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  18:28, 6 January 2025 (UTC)
:::Well, promotion in terms of a basic description of the resource in question should be fine. I would assume it would be redundant to have them written out like an &quot;advertisement&quot;, but a basic description of the resource seems to be an educational benefit to the community. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:39, 7 January 2025 (UTC)
::::Thanks for your reply. -  [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:32, 8 January 2025 (UTC)
:::::And also, if you wanted to add your own [[User:RockTransport/Wikiversity Newsletter|description]] on the subject, you may do so. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:47, 8 January 2025 (UTC)

== Linking your YouTube account ==

Hello Atcovi,

On Wikiversity, is it allowed (or accepted) to link your personal YouTube account?

Kind regards,

Rock [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  19:12, 9 January 2025 (UTC)

:Hi RockTransport! Depends, though I'd personally discourage. Did you have a specific instance in mind? —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:32, 9 January 2025 (UTC)
::Yes, I was thinking of linking my YouTube account, so that's why I was wondering. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  08:39, 10 January 2025 (UTC)
:::If it is on your userpage, I don't see a problem with it, but if it is linked on the resources you're creating in the mainspace, it opens doors to potential solicitation, so I'd advise against the latter. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:40, 10 January 2025 (UTC)
::::Thanks. I was planning on doing it on my userpage. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  16:54, 10 January 2025 (UTC)
:::::No problem with that AFAIK. Thank you for checking! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:05, 10 January 2025 (UTC)

== ''The Signpost'': 15 January 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editors: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/From the editors|Looking back, looking forward]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Traffic report|The most viewed articles of 2024]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/In the media|Will you be targeted?]]

* Technology report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Technology report|New Calculator template brings interactivity at last]]

* Essay: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Essay|Meet the Canadian who holds the longest editing streak on Wikipedia]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Opinion|Reflections one score hence]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/News and notes|It's a new dawn, it's a new day, it's a new life for me... and I'm feeling free]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Serendipity|What we've left behind, and where we want to go next]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Op-ed|Elon Musk and the right on Wikipedia]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/In focus|Twenty years of The Signpost: What did it take?]]

* Arbitration report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Arbitration report|Analyzing commonalities of some contentious topics]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Humour|How to make friends on Wikipedia]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 07:58, 15 January 2025 (UTC)
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== Wikiversity Newsletter - Feedback ==

Hello Atcovi,

Could you give some feedback on the [[User:RockTransport/Wikiversity Newsletter|Wikiversity Newsletter]] if you want to/ if it's possible. This is because I plan on publishing it by the end of the month, and so I could expand the newsletter based on the feedback given.

Kind regards,

[[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  13:47, 18 January 2025 (UTC)

:Hi Rock Transport, I've made a few modifications. Feel free to tweak them if you desire. Thanks! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:09, 18 January 2025 (UTC)
::Thanks for helping @[[User:Atcovi|Atcovi]], have a great day! [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:13, 18 January 2025 (UTC)

== Signatures - citation? ==

Hello {{PAGENAME}},
On Wikiversity, for signatures, do we give a citation if we used inspiration from Wikipedia's Signatures page? I did it just to be safe, but I want to make sure.
[[User:RailwayEnthusiast2025|&lt;span style=&quot;color:green;&quot;&gt;'''''RailwayEnthusiast2025'''''&lt;/span&gt;]] ([[User talk:RailwayEnthusiast2025|talk page]]|[[Special:Contributions/RailwayEnthusiast2025|contribs]]) 16:24, 24 January 2025 (UTC)

:Good afternoon RailwayEnthusiast2025. No, not at all. You can if you want, but there is no obligation to do so. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 17:01, 24 January 2025 (UTC)
::Thanks for your reply. [[User:RailwayEnthusiast2025|&lt;span style=&quot;color:green;&quot;&gt;'''''RailwayEnthusiast2025'''''&lt;/span&gt;]] ([[User talk:RailwayEnthusiast2025|talk page]]-[[Special:Contributions/RailwayEnthusiast2025|contribs]]) 17:03, 24 January 2025 (UTC)

== ''The Signpost'': 22 March 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editor: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/From the editor|''Hanami'']]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/News and notes|Deeper look at takedowns targeting Wikipedia]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/In the media|The good, the bad, and the unusual]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Recent research|Explaining the disappointing history of Flagged Revisions; and what's the impact of ChatGPT on Wikipedia so far?]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Traffic report|All the world's a stage, we are merely players...]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Gallery|WikiPortraits rule!]]

* Essay: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Essay|Unusual biographical images]]

* Obituary: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Obituary|Rest in peace]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 03:12, 22 March 2025 (UTC)
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== ''The Signpost'': 9 April 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* Special report: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Special report|Wikipedian and physician Ziyad al-Sufiani reportedly released from Saudi prison]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/In focus|WMF to explore &quot;common standards&quot; for NPOV policies; implications for project autonomy remain unclear]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/In the media|Indian judges demand removal of content critical of Asian News International]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/News and notes|35,000 user accounts compromised, locked in attempted credential-stuffing attack]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Op-ed|How crawlers impact the operations of the Wikimedia projects]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Opinion|Crawlers, hogs and gorillas]]

* Debriefing: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Debriefing|Giraffer's RfA debriefing]]

* Obituary: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Obituary|RHaworth, TomCat4680 and PawełMM]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Traffic report|Heigh-Ho, Heigh-Ho, off to report we go...]]

* News from Diff: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/News from Diff|Strengthening Wikipedia’s neutral point of view]]

* Comix: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Comix|Thirteen]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 18:26, 9 April 2025 (UTC)
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== Potential suicide risk - need admin assistance ==

Hello,

I am writing to report a potentially concerning post on Wikiversity « Should suicide be legal? »

The user appears at the very end of the chat


Thank you very much for your help. [[User:Cl51RLM2013|Cl51RLM2013]] ([[User talk:Cl51RLM2013|discuss]] • [[Special:Contributions/Cl51RLM2013|contribs]]) 18:37, 12 June 2025 (UTC)

:@[[User:Atcovi|Atcovi]]Just to add more details to my previous message:
:I am writing to report a potentially concerning post on Wikiversity in the discussion under 
:''&quot;Should suicide be legal?&quot;''
:.
:At the very end of the conversation, a user seems to express possible suicidal thoughts or emotional distress.
:As I am not qualified to handle this situation, I wanted to notify an administrator so that someone experienced can review the message and take appropriate action if necessary.
:Thank you very much for your help. [[User:Cl51RLM2013|Cl51RLM2013]] ([[User talk:Cl51RLM2013|discuss]] • [[Special:Contributions/Cl51RLM2013|contribs]]) 18:43, 12 June 2025 (UTC)</text>
      <sha1>9jn8m086doi3q3vxablk9qpf07u3wot</sha1>
    </revision>
    <revision>
      <id>2718405</id>
      <parentid>2718402</parentid>
      <timestamp>2025-06-12T19:35:29Z</timestamp>
      <contributor>
        <username>Atcovi</username>
        <id>276019</id>
      </contributor>
      <comment>/* Potential suicide risk - need admin assistance */ Reply</comment>
      <origin>2718405</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="57886" sha1="19t4vxgptzps2257vlklr1ebmbyf2wg" xml:space="preserve">[[User:Atcovi/Archive 1|/Archive 1 (September 25, 2013 - November 15, 2013)]] • [[User talk:Atcovi/Archive 2|/Archive 2 (November 15, 2013 - November 27, 2013)]] • [[User talk:Atcovi/Archive 3|/Archive 3 (December 3, 2013 - December 25, 2013)]] • [[User talk:Atcovi/Archive 4|/Archive 4 (December 24, 2013 - January 1, 2014)]] • [[User talk:Atcovi/Archive 5|/Archive 5 (January 2, 2014 - January 20, 2014)]] • [[User talk:Atcovi/Archive 6|/Archive 6 (March 24, 2014 - April 14, 2014)]] • [[User talk:Atcovi/Archive 7|/Archive 7 (April 19, 2014 - September 8, 2014)]] • [[User talk:Atcovi/Archive 8|/Archive 8 (September 12, 2014 - November 3, 2014)]] • [[User talk:Atcovi/Archive 9|/Archive 9 (November 6, 2014 - January 26, 2015)]] • [[User talk:Atcovi/Archive 10|/Archive 10 (January 28, 2015 - March 11, 2015)]] • [[User talk:Atcovi/Archive 11|/Archive 11 (March 22, 2015 - June 25, 2016)]] • [[User talk:Atcovi/Archive 12 (June 26, 2016 - January 8, 2018)|/Archive 12 (June 26, 2016 - January 8, 2018)]] • [[User talk:Atcovi/Archive 13 (January 9, 2018 - April 14, 2023)|/Archive 13 (January 9, 2018 - April 14, 2023)]]

:''Before 2013: [https://en.wikiversity.org/w/index.php?title=User_talk:Atcovi&amp;diff=750617&amp;oldid=740650 see this]'' 
{{tmbox
|small = 
|image = [[Image:Busy desk.svg|{{#ifeq:|yes|40px|75x50px}}]]
|text = This user is busy in [http://en.wikipedia.org/wiki/Real_life Real Life] {{#if:|until&amp;nbsp;{{{end}}}&amp;nbsp;}}{{#if:|due to&amp;nbsp;{{{reason}}}&amp;nbsp;}}and may not respond swiftly to queries.{{#if:|&lt;P&gt;{{{msg}}} }} 
| style     = {{#if:|width: {{{width}}}px;}} {{#ifeq:{{{shadow}}}|yes|{{box-shadow|0px|2px|4px|rgba(0,0,0,0.2)}}|}}
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== Hydrangeas and Me (Short Story in Progress) ==

'''CHAPTER 1''':

It was a rainy Monday morning. The overcast clouds brought about a wave of light gray over the world, allowing the rain its refuge from the harsh sun. I woke up earlier than usual, due to the incessant knocking of light rain on my window. I rose from my bed, spread open the curtains, and raised the blinds. I looked outside, admittedly a bit upset about the current state of weather, and stepped down to change into my school uniform. 

The walk to school would prove a bit more difficult today because of the light spray, so I prepared my best umbrella and opened the door, ready to face the world. Each of my steps pittered and pattered. Water began to soak through my sole to my foot, giving me quite an icky feeling. I walked, feeling as if sponges had been rubber banded to my feet. I saw other students making the commute as well. Some of them rose their feet in comedic ways to avoid all the water, to no avail. Others ignored the puddles and continued forward. ''Rather courageous…'' I thought to myself, smiling lightly. Little moments like these can bring happiness, even in this less-than-desired weather.

Eventually, me and the other hoards of students successfully made their way to the front gate. Some teachers decided to move under the canopy of the school’s main entrance, instead of their typical formation at the school’s gate. As I entered the canopy, I closed my umbrella and shook off the rain on the tiles in front of the glass door. Some other students mimicked my behavior and I laughed, albeit embarrassingly. I walked into the school, put my umbrella on the stand and marched toward my shoe locker before changing into the inside schools that were required of us.

''Today… I hope…'' Unlike the other mundane days, today was a lot more exciting. She would be there, in the garden of hydrangeas. After the change, I noted the time. 7:30. I would have a good amount of time to see her. I rushed with a silly look on my face to the library. Toward the back, there were several large windows which looked out upon the gardening club’s area of operation. I made sure to pick a table that was close to the windows. I turned my head outside, and like clockwork, she stood there tending to the flowers.

Today, because of the rain, she wore a little umbrella cap supplied to the club to fend off the rain. She stood and cut stems with tiny gardening scissors. Her look was focused, yet soft. She didn’t seem like she wanted to injure the flowers, as if they meant everything to her. Each movement and cut, every one seemed to take special care toward the hydrangeas. I sat holding my head up with one hand watching her. Today’s view was particularly beautiful. Maybe the rain isn’t so bad for today. 

The girl in the garden walked toward the shed to grab a few more tools. There were about 20 more minutes until the first bell would ring. Despite that, she continued to work. Her soft look and gaze had enraptured me, it reminded me of more innocent times. It reassured me, and it calmed me. Everytime I did this, I would feel so tired and relaxed. I wish I could watch for hours. Today, I want to change things. I don’t want to watch from afar anymore. I wish to know more about this girl who tends to the garden. What kind of flowers does she like? How long has she been tending to this garden? Many, many questions trying to flow out to reach their answered counterparts. 15 minutes left, if I want to do this I better act fast.

Tens of days spent watching, relaxed, for it suddenly to turn to stress and anxiety. Would she accept me? Is this her own personal time I'm trying to infringe upon? Each doubt weighed my steps like ankle weights, but despite it all, I continued forward. I opened the glass door and went outside, with no umbrella. The rain was rather light, so it didn’t pose much of a threat to my clothing. Upon opening the door, the girl in the garden noticed my entrance. Suddenly the image became reality, like entering a painting. The smell of dirt and flowers, mixed with rain. Her appearance is much more real.

“H-hello…” I stammer, honestly not knowing what else to say.

“Hi! What brings you to the garden, were you interested in joining the club?” She directs that typical soft smile in my direction. It’s very hard to not turn away from such a bright light. The rain complemented her well, like a warm bowl of porridge. 

What should I say? I hadn’t intended on joining this club, but what do I say aside from that? However, I don’t want to lie…

“I wanted… to talk to you. To ''see'' you.” Ehhh… that’s not right.

The girl’s expression seems to lighten, giving me a good chance to make eye contact. She seems a bit confused.

“Do we know each other? I don’t remember ever seeing you in class… I’m sorry…”

“The hydrangeas, I mean. I want to talk to you about the hydrangeas.”

Her quizzical expression turns even brighter than the one she showed me first.

“Oh! What would you like to know?” she’s smiling brightly, and tilts forward a bit waiting for my response.

A conversation…! We’re having a conversation! Ahhh… I’m so excited but I have to keep my cool. 

“You cut the flowers with those scissors, why? Does that not hurt them?”

“Ah! It’s a process called pruning… “ She snips her scissors up toward me. She turns around and beckons me to one of the many bushes. I follow suit.

“These… are buds. It’s where the flower grows from. We prune them for many reasons, but most of the time it’s because the flower or stem is diseased.”

I’m smiling so much right now, I can’t contain myself. So much stimulation just from a little conversation. I laugh a bit, out loud.

“Hmmm…?” She looks up at me, hearing my light laughter.

I quickly blush, becoming a bit embarrassed. “S-sometimes… It’s the little things that bring me happiness…” My signature phrase comes out, resulting in a large smile formulating on my face.

The girl looks at me, and reflects my smile. “Do you like hydrangeas, too?”

“I-I think I do?”

The girl erupts into laughter, and I can’t help but join in.

“You think? Well, maybe you should think a little more… about the kinds of flowers you like. And maybe the kinds of things you say, as well?”

She lightly teases me, before standing up. “Do you have any other questions about these flowers?”

I think. An important question… yet familiar. “Do ''you'' like hydrangeas?”

I reflect her question back on her. Her expression grows warm, as if I can see the colors of her mood changing before me.

“I do… They bring me a lot of my own happiness, too.” I think back to what I said earlier and smile again. “In the rain… they are so beautiful too! It makes me think of…” She pauses. “Tears of joy, or maybe the feeling of contentment. They are so… simple. Y’know it’s not just people that can talk… These flowers can too. And when you listen close enough, you find out that they have a lot to say.”

“I’m not sure I can understand…”

“That’s okay, we all have to start somewhere.” She smiles mischievously, before walking toward the shed. “We have about 5 minutes to class, you know…? What’s your name?”

I panic over the fact that we have so little time, partially because my class is on the opposite side of where we are now. “I-I’m Akio…” 

“Well, Akio, thanks for talking to me… I’ll see you around!”

“Same to you!”

I walk back to the glass door before looking toward her again. She’s working in the shed, putting her tools away. I open the door inside. For some reason, leaving that rainy hydrangea world hurt me when I walked inside. As if the dryness was worse than rain…

—----------------------------------------------------------------------------------------------------------------------------

'''Date: 2018/07/21'''

'''Today, when I was tending to the hydrangeas, a boy approached me and asked me about them. I was nervous at first, because I didn’t know what he wanted.'''

'''He wanted to ask about the flowers I was tending to, and why I was pruning them. We talked a little bit after this. He seems interesting… yet suspicious! I will keep an eye out…'''

'''Again, me and Mom fought. It hurts a lot when we fight, I say things that I don’t mean to say. She wants me to do so many things, but I’m just one person. I think she’s just living through me… I love her, but I want to be my own person. Making my own choices and decisions.'''

'''School was bland, except for the gardening club (as usual)! We have a field trip to a sunflower field coming up. It’s always so beautiful to see those fields in the summer… I hope the skies are blue that day. Maybe me and the club members can take photographs.'''

'''Ahh… I CAN’T WAIT!'''

'''Sincerely (again),'''

'''Hana'''

That night when I got home, I plopped back on my bed. Hours of lecturing and note-taking always takes quite a toll on me. Well, mostly everyone else too. If you think any of that is fun, I must commend you. My bookbag slid onto the floor as I unbuttoned my uniform. I felt a bit too lazy to do anything else other than rest. I noticed a pencil was sticking from my shirt pocket, if left unnoticed it might’ve poked me. I removed it, and threw it across the room. Just cause?

Downstairs, I could hear the door open and close. “Akio, we’re home!” My mother called. “Welcome back.” I didn’t really attempt to yell this so I’m not too certain as to if the both of them actually heard that.

“Man…” I thought back to earlier this morning, when me and… And…? “Ah!” I exclaimed aloud, recognizing my mistake. I forgot to ask her name. I wonder?

“Akane? Hmm, maybe too harsh…” A soft complexion, warm smile… a love of flowers?

“Aki… Akemi…” Maybe I shouldn’t focus on A’s so much. Yet that letter seems like it would make some sense.

I kept deliberating as to what her name could potentially be before my thinking was interrupted. I heard a knock at the door. “Akio?” 

“Yeah, Mom?”

“I didn’t hear you welcome us, so I thought maybe you were out? You surprised me…”

“Sorry. ‘Welcome Home!’”

“Don’t tease! How was school?”

“Better than usual… Aside from the rain maybe.”

“Oho? Anything new happen?”

I thought back to how I expressed meeting the girl in the garden as ‘entering a painting.’

“‘Things may look up in your favor’” I said, like reading a fortune cookie.

“Very funny. Well, I’m glad…” My mom flashes me a warm smile, before leaving the room and closing the door.

“Don’t forget, this weekend is the festival in town. Your father and I will be going, you can come along too if you’d like?” She speaks through the door.

“Hmm… Maybe. Let me think about it.”

“Okay.”

I hear her footsteps as she makes her way down the stairs. I look up at the ceiling and use my body weight to launch myself from the comfort of my bed. I trudge over to my bookbag and collect a few slips of homework and textbooks.

“Time for the long haul…”

A few hours pass, as I complete sheet after sheet. I’m careful to review what we learned from our textbooks. My hand grows tired of writing and my eyes get weary. I look up at the clock.

10:32 PM. Yeesh, it’s rather late now. Best to get to sleep.

I close my blinds, and shut the curtains before making my final approach to the blanket kingdom that is my bed. It’s warm and fuzzy, and makes me smile with contentment. I hope that this feeling lasts forever.

Next week… Can’t come any sooner…

Maybe…

Sleep takes me before I can finish my thought.

'''CHAPTER 2''':

“...” 

My classroom door is shut, it seems the teacher has yet to arrive. I really have to stop getting here so early. The hallway seems rather barren this morning. Yet again, the rain continues and won’t let up. Even if it’s monsoon season, I want at least one sunny day, y’know? 

I sit down next to the door and put my bookbag next to me, I feel rather sleepy. The fatigue from last night’s battle still sits on my shoulders. “Hahhh…”

“Tired today, Akio?” A voice stirs me, yet my eyes remain closed. “Mmm…”

Wait. Who’s voice is that? I open my eyes and turn to see who spoke.

“Ah!” I yelp, accidentally. I quickly sit up, and try to straighten myself out.

“H-hello! Yes, last night, so much homework… Not much sleep either.”

It was the girl from the garden, and I was very startled. I couldn’t handle the cognitive dissonance of seeing her in the hallway. It was a first, and the fact that she was talking to me exacerbated this feeling a hundredfold. 

“I see. Well, I’m going to my classroom. See ya..!”

The girl makes her way up the hallway, marching with great purpose.

Mgghhh. A brief exchange, yet…

“W-wait…!”

She turns around. She seems a little startled by the amount of force I put into my voice. The hallway was rather empty, save for us two, after all.

“I never… got your name. Might I-I ask what it is?”

“Oh! You’re right! It’s Hana… Can’t believe I never told you. Apologies.”

Hana. Hana. A lot of A’s, huh?

Eventually, the teacher and a few students march up the opposite end of the hallway to our classroom. “Early today, Akio?” The teacher says, as he unlocks the door with her key.

“Something like that…” I responded. I’m admittedly a little embarrassed by what just happened in the hallway, even though it went rather well. An after-effect of love, I suppose.

The door finally opens and the smell of the classroom fills my nose. It’s rather comforting, but also fills me with boredom. The brief period of movement I get from door to chair is simply too little for my antsy legs. Maybe if they made every desk a treadmill it would alleviate the problem. I chuckle to myself at the thought of some of my classmates trying to keep up.

I walk and sit down at my desk, awaiting today’s lesson. A friend of mine, Jiro, turns to me. He had found his desk a bit before me.

“Oi, Akiooo! So early, today? What gives?”

“I’m always early.”

“Pshhh! Sure… Tell that to yourself last week, Mr. 5-minutes-after-the-bell”

“I’ll have you know that is not my last name.”

Me and Jiro have been friends since the start of the school year, we haven’t really known each other long, but due to our desks being in close proximity and our great chemistry, we’ve been able to get really close.

Jiro is rather eccentric and energetic. It’s a great match for my rather calm personality. We’d make a perfect straight man/funny man duo, if we were to pursue comedy.

“Yo, Akio, the festival is coming to town. And… We’ve never even hung out!? Let’s change that!” Jiro flashes a corporate smile, as if he was pitching his company’s product to a stern investor.

“Hmm… My parents asked me about the same thing…”

“It’s me or it’s them, Akio. No in betweens! I thought we had something…” Jiro pretends to tearfully sob, putting me in a rather awkward situation. Other students settling in begin to look at us. 

“Ok, ok… Maybe I’ll go with you, I had a choice to begin with. I’ll have an answer for you by tomorrow.”

“Perfect! It’s a date, then!” Jiro attempts to make his most masculine face, but I can’t help but start laughing.

“Good joke?” Jiro says, smiling lightly.

“More like a good face, that got me.”

“Nihihi!” Jiro’s face reminds me of a cat when he does this.

After this exchange, the teacher begins to give some announcements before class. Some of them pertaining to festival safety, seeing as a great majority of us would be in attendance. Others included information about clubs, the coming exams, and career documents.

All of us were in 12th grade, so after this, it was time to move on to the big world and get to work. Honestly, anytime I would hear anything about career forms or schooling after high school would always scare me. I was worried about putting myself out there in the world, afraid of what might come from that. Knowing that everyone else would have to face the same thing, it did make me feel a bit better. That light knot in my stomach still wouldn’t go away, however.

The class passed by, uneventfully. The teacher talked in great detail about some wars, called on a few clueless students, and sighed a great many times. The typical class experience. Jiro got the golden ticket today, he was sleeping when he was called on. I’ve never seen a stick of chalk fly so fast and hit so hard. I could’ve sworn that he would be sent flying, but he started holding his head in pain. I laughed, but quickly fixed my expression when he looked at me with “the stare of a thousand deaths.”

As we all began to walk out of the classroom after the bell, the hallways were flooding with oceans of students. Luckily, I had a boat and paddle to bear the waves. Or, maybe just experience? 

'''*'''

The rest of the school day passed by, the classes got faster with each one that came and went. I put my shoes on, and walked out from the entrance. It was cloudy today, but there was no rain. Maybe it’s really starting to grow on me. The rain usually maddens and annoys me, but this year I want to see it more than ever. 

Is it because of her? What even are these feelings of mine? Is it appropriate to attribute them to a real person? I would stare and stare at her in that garden, as if admiring a beautiful landscape portrait in a museum. When we talked those two times, I was so nervous I could barely keep it together. I don’t view myself as someone who’s lacking in confidence, or has low self-esteem, but her presence is almost choking. And it’s my own fault. The more I pedestalize her, the worse those interactions will get.

I’ve already confirmed it myself, in that garden. Hana is as real as those flowers. As real as the rain. Flesh, blood, bone. Breathing, beating, human. She gets sick, uses the bathroom, and makes mistakes.

“Maybe I’ve been thinking about this wrong…” I say aloud, albeit accidentally. I think it’s okay to be curious about who she is. I have to leave this mindset behind if I want to keep talking to her. I don’t really have much of a reason though, except for that I just want to. Life is funny, in that way. Sometimes we just want to do something, and we don’t really have to explain why. Rather comforting. 

On a whim, I decided to visit the garden today before I made the trek home. Walking to the side gate this time, I opened it and once again found myself at the whim of these flowers. I was half expecting people to be here, seeing as it is after-school, but there was no one to be found. It was rather ethereal. The scene was similar to yesterday’s, but it possessed much more weight. Perhaps it was because I was alone. I could be off my guard, in this beautiful place.

I walked by the hydrangea bushes, and touched their leaves. They can talk, huh? I move my hand gently to the flower and feel the petals. They are silky and soft, and a bit warm. Not too far off from human skin. The flower was a bright, light purple. It swayed with each touch, despite my light movements. As a joke, I put my ear up to the flower, as if to listen to what it was trying to tell me. A gust of wind blows through, and the flower hits my head a few times. Maybe it doesn’t like me too much? Upon realizing this, I burst into laughter. 

“Silly little flowers, maybe we’re equals after all?”

Before my exit, I wave and bow courteously for the flowers and open the garden gate. Much to my surprise, a few gardening club members stood on the other side of the opening. This moment was admittedly, rather embarrassing. For one, I really hope they didn’t hear me talking to those flowers. For two, am I allowed back here? I didn’t ever really think about that.

I gaze at each of their startled faces, and yet, Hana’s isn’t there. I am a bit disappointed, I let out a little sigh.

“W-what brings you to the garden?” One of the members perks up, a small boy who appears to be a bit nervous about the encounter. The other two girls look toward him and then back at me, expectant of an answer.

“I hope I wasn’t breaking any rules by being in there, I was just ta- …loo-king at the flowers? Is that okay?” I didn’t mean to sound so apologetic, but it came out rather emotional anyway.

“No, that won’t be an issue. As long as all flowers are accounted for.” One of the two girls speaks, and gives a bit of a stern answer. She still seems suspicious about my presence.

“Mei… No need to be so harsh, he doesn’t seem so bad after all.” The last girl speaks softly to the more brusque one, and gives a warm smile. I don’t know how to explain it, but I’m thanking her to high heaven right now. Who knows what would be in store for me had she not been here. My ears probably would’ve fallen off. 

“S-sorry again, I wasn't trying to cause any trouble.” I make my way past the exit, and attempt to pass by the three of them. I’m successful, but I stop and turn around hesitantly.

“I love the garden, please don’t stop talking with those flowers.”

I realize that’s not exactly what I wanted to say, and in my intense embarrassment I turn around and continue home. From behind me, I could hear the group laughing a bit. I could’ve swore I heard her name too…

—----------------------------------------------------------------------------------------------------------------------------

'''Date: 2018/07/29'''

'''A slower day than usual. Today was the last day of classes, meaning that we don’t come back until September. The festival will be starting tomorrow, as well. The week after, I FINALLY get to go on the sunflower trip. I am unbelievably excited for it.'''

'''I don’t have much else to say. Thanks, I guess?'''

'''Sincerely (again),'''

'''Hana'''

Today, we had the festival. I had inevitably let my parents know that instead of going with them, I would be going with Jiro. They didn’t seem disturbed by that fact, which was nice. Maybe even a little happy that they got to have some alone time. I guess this would be a win-win situation?

I had called Jiro a little while ago to confirm where we would meet before making the commute. It would be about a ten minute walk. Thank the heavens the sun is setting, or I don’t think I would’ve made it to the 5 minute mark. I was thinking of coming in my kimono, but it was much too hot to wear something like that. Decidedly, I just went with my plain clothes. 

I waited a few more hours for 5:50 to come around before leaving my house. The festival started at 6:30, but we wanted to look around a bit before it began. I made the trek outside of my front door and walked to the side of the road. Despite the sun going down, it was still unbearably hot. I raised my hand to cover my eyes while walking in the sun’s gaze. 

A few neighbors appeared to be preparing themselves for the festival as well. We lived in a rather small town, so most of the people around here prepared themselves for things like these.  [[User:IvoctA|IvoctA]] ([[User talk:IvoctA|discuss]] • [[Special:Contributions/IvoctA|contribs]]) 19:39, 16 September 2023 (UTC)

== Hello!  Wikijournal chat?   ==

Happy new year :)  Long time.

I just saw you've been working with WikiJournal; how are you finding this format and process?  What are the bottlenecks at the moment, what else might be possible?  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 14:35, 25 January 2024 (UTC)

:Hey Sj, good morning.
:My submission for WJ has been quite slow due to IRL commitments, but I've had good experiences so far. One of the WJ reviewers was nice enough to give me and my buddy solid advice on how to improve our journal for submission, so I was pleased with that. The discussion at [[Talk:WikiJournal_User_Group#Current_status_of_WikiJournals]] is concerning, though, and I hope WJ will continue to be in operation. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:21, 25 January 2024 (UTC)

== ''The Signpost'': 31 January 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/News and notes|Wikipedian Osama Khalid celebrated his 30th birthday in jail]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Opinion|Until it happens to you]]

* Disinformation report: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Disinformation report|How paid editors squeeze you dry]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/In the media|Katherine Maher new NPR CEO, go check Wikipedia, race in the race]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/In focus|The long road of a featured article candidate, part 2]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Recent research|Croatian takeover was enabled by &quot;lack of bureaucratic openness and rules constraining [admins]&quot;]]

* Comix: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Comix|We've all got to start somewhere]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Traffic report|DJ, gonna burn this goddamn house right down]]

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== Invitation to discuss page deletion policy ==

A discussion that might interest you has been started at [[Wikiversity:Requests_for_Deletion#Wikiversity:Deletion_Convention_2024]]. -- [[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 17:49, 15 February 2024 (UTC)

:{{ping|Guy vandegrift}} Hello Guy vandegrift, I appreciate you thinking about me and reaching out to me for my thoughts. I'm afraid I will have to echo Dave's response and abstain from formulating any suggestions, since I do not have the needed time to review the discussion. Best of luck. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:35, 17 February 2024 (UTC)

== Movie reviews ==

'''[[Paris, Texas]]''' is under a prod and when I found '''[[Book Reviews]]''' I thought of copying and creating a page called [[Movie reviews]].  I obviously don't need your permission (cc-by!), but was wondering what you thought of that idea. Any chance of attracting new movie reviews? ... Another idea would be to create a subspace under [[Essay]], with a subpage that links to [[Book reviews]].  [[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 09:54, 1 March 2024 (UTC)--Afterthought: See '''[[Essay/Collection]]'''-[[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 10:09, 1 March 2024 (UTC)

:Movie reviews would be interesting. It can be educational, but also promotional. Personally, I don't have interest in producing movie reviews - but setting it up for future users in the hopes it is developed in accordance with our guidelines does not sound like a bad idea. I think putting [[Book Reviews]] under an &quot;Essay&quot; subspace would be redundant (and provide exceptionally long page titles), and that may be the same for Movie reviews. I would lean towards making it a stand alone project and, if issues arise, we can address them when we cross that bridge. Thanks. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 00:15, 2 March 2024 (UTC)

::I am astonished by the success of [[Book Reviews]], but noticed one odd features: Certain titles are not shown on the front page. One example is [[Book_Reviews/A_Hero_of_Our_Time|A Hero for Our Time]]. I traced the problem to the dynamicpagelist and its count variable.  I think I can fix that feature.  Do you want me to?--[[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 11:23, 2 March 2024 (UTC)
:::Of course, go for it! Thank you in advance. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:30, 2 March 2024 (UTC)

== ''The Signpost'': 4 September 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/News and notes|WikiCup enters final round, MCDC wraps up activities, 17-year-old hoax article unmasked]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/In the media|AI is not playing games anymore. Is Wikipedia ready?]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Recent research|Simulated Wikipedia seen as less credible than ChatGPT and Alexa in experiment]]

* News from the WMF: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/News from the WMF|Meet the 12 candidates running in the WMF Board of Trustees election]]

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* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Serendipity|What it's like to be Wikimedian of the Year]]

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== ''The Signpost'': 26 September 2024 ==

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* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/In the media|Indian courts order Wikipedia to take down name of crime victim, and give up names of editors]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Serendipity|A Wikipedian at the 2024 Paralympics]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Opinion|asilvering's RfA debriefing]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/News and notes|Are you ready for admin elections?]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Gallery|Are Ludd''ai''tes defending the English Wikipedia?]]

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== ''The Signpost'': 19 October 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/In the media|Off to the races! Wikipedia wins!]]

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== ''The Signpost'': 6 November 2024 ==

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* From the editors: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/From the editors|Editing Wikipedia should not be a crime]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/News and notes|Wikimedia Foundation shares ANI lawsuit updates; first admin elections appoint eleven sysops; first admin recalls opened; temporary accounts coming soon?]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/In the media|An old scrimmage, politics and purported libel]]

* Special report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Special report|Wikipedia editors face litigation, censorship]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Gallery|Why you should take more photos and upload them]]

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== ''The Signpost'': 18 November 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/News and notes|Open letter to WMF about court case breaks one thousand signatures, big arb case declined, U4C begins accepting cases]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/In the media|Summons issued for Wikipedia editors by Indian court, &quot;Gaza genocide&quot; RfC close in news, old admin Gwern now big AI guy, and a &quot;spectrum of reluctance&quot; over Australian place names]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/Recent research|SPINACH: AI help for asking Wikidata &quot;challenging real-world questions&quot;]]

* News from the WMF: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/News from the WMF|Wikimedia Foundation and Wikimedia Endowment audit reports: FY 2023–2024]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/Traffic report|Well, let us share with you our knowledge, about the electoral college]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 23:46, 18 November 2024 (UTC)
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== Page called Food Tests ==

Hello there,

I am contributing to the Food Tests page and I would like to inform you that we are currently expanding the page, and we are constantly adding new features to it. Please do not nominate the page for deletion any more throughout its improvement. This was just a kind notice.

[[Food Tests]]

Kind regards,

Rock

[[User:RockTransport|RockTransport]] ([[User talk:RockTransport|discuss]] • [[Special:Contributions/RockTransport|contribs]]) 20:40, 4 December 2024 (UTC)

:{{ping|RockTransport}} Hey Rock, no need to worry. You have around 3 months or so to improve the content of the page, and I'm sure with your intentions stated here you'll be able to provide content to the page that would suffice [[Wikiversity:What is Wikiversity?|our objectives]] by the 'deadline'. Thank you for your contributions and [[Template:Welcome|welcome to Wikiversity]] (make sure to check this page out for some useful tips for beginners)! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 23:06, 4 December 2024 (UTC)

== ''The Signpost'': 24 December 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/News and notes|Responsibilities and liabilities as a &quot;Very Large Online Platform&quot;]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Op-ed|Beeblebrox on Wikipediocracy, the Committee, and everything]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Opinion|Graham87 on being the first-ever administrator recall subject]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/In the media|Delhi High Court considers ''Caravan'' and ''Ken'' for evaluating the ANI vs. WMF case]]

* From the archives: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/From the archives|Where to draw the line in reporting?]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Recent research|&quot;Wikipedia editors are quite prosocial&quot;, but those motivated by &quot;social image&quot; may put quantity over quality]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Humour|Backlash over Santa Claus' Wikipedia article intensifies]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Gallery|A feast of holidays and carols]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Traffic report|Was a long and dark December]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 00:04, 25 December 2024 (UTC)
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== Wikiversity Newsletter ==

Hello Atcovi,
Would you mind if I included your course, that was featured on Main Page/News into the Wikiversity Newsletter, and giving a brief overview about it? 
Regards,
Rock [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  16:25, 6 January 2025 (UTC)

:{{ping|RockTransport}} That's fine. Take note that it isn't a course, it's just an essay. Thanks, —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 17:28, 6 January 2025 (UTC)
::Thanks, but on second thought, i might not add it due to the sensitive content mentioned, however, is promotion of Wikiversity's content allowed as part of the newsletter? [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  18:28, 6 January 2025 (UTC)
:::Well, promotion in terms of a basic description of the resource in question should be fine. I would assume it would be redundant to have them written out like an &quot;advertisement&quot;, but a basic description of the resource seems to be an educational benefit to the community. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:39, 7 January 2025 (UTC)
::::Thanks for your reply. -  [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:32, 8 January 2025 (UTC)
:::::And also, if you wanted to add your own [[User:RockTransport/Wikiversity Newsletter|description]] on the subject, you may do so. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:47, 8 January 2025 (UTC)

== Linking your YouTube account ==

Hello Atcovi,

On Wikiversity, is it allowed (or accepted) to link your personal YouTube account?

Kind regards,

Rock [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  19:12, 9 January 2025 (UTC)

:Hi RockTransport! Depends, though I'd personally discourage. Did you have a specific instance in mind? —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:32, 9 January 2025 (UTC)
::Yes, I was thinking of linking my YouTube account, so that's why I was wondering. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  08:39, 10 January 2025 (UTC)
:::If it is on your userpage, I don't see a problem with it, but if it is linked on the resources you're creating in the mainspace, it opens doors to potential solicitation, so I'd advise against the latter. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:40, 10 January 2025 (UTC)
::::Thanks. I was planning on doing it on my userpage. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  16:54, 10 January 2025 (UTC)
:::::No problem with that AFAIK. Thank you for checking! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:05, 10 January 2025 (UTC)

== ''The Signpost'': 15 January 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editors: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/From the editors|Looking back, looking forward]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Traffic report|The most viewed articles of 2024]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/In the media|Will you be targeted?]]

* Technology report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Technology report|New Calculator template brings interactivity at last]]

* Essay: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Essay|Meet the Canadian who holds the longest editing streak on Wikipedia]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Opinion|Reflections one score hence]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/News and notes|It's a new dawn, it's a new day, it's a new life for me... and I'm feeling free]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Serendipity|What we've left behind, and where we want to go next]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Op-ed|Elon Musk and the right on Wikipedia]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/In focus|Twenty years of The Signpost: What did it take?]]

* Arbitration report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Arbitration report|Analyzing commonalities of some contentious topics]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Humour|How to make friends on Wikipedia]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 07:58, 15 January 2025 (UTC)
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== Wikiversity Newsletter - Feedback ==

Hello Atcovi,

Could you give some feedback on the [[User:RockTransport/Wikiversity Newsletter|Wikiversity Newsletter]] if you want to/ if it's possible. This is because I plan on publishing it by the end of the month, and so I could expand the newsletter based on the feedback given.

Kind regards,

[[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  13:47, 18 January 2025 (UTC)

:Hi Rock Transport, I've made a few modifications. Feel free to tweak them if you desire. Thanks! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:09, 18 January 2025 (UTC)
::Thanks for helping @[[User:Atcovi|Atcovi]], have a great day! [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:13, 18 January 2025 (UTC)

== Signatures - citation? ==

Hello {{PAGENAME}},
On Wikiversity, for signatures, do we give a citation if we used inspiration from Wikipedia's Signatures page? I did it just to be safe, but I want to make sure.
[[User:RailwayEnthusiast2025|&lt;span style=&quot;color:green;&quot;&gt;'''''RailwayEnthusiast2025'''''&lt;/span&gt;]] ([[User talk:RailwayEnthusiast2025|talk page]]|[[Special:Contributions/RailwayEnthusiast2025|contribs]]) 16:24, 24 January 2025 (UTC)

:Good afternoon RailwayEnthusiast2025. No, not at all. You can if you want, but there is no obligation to do so. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 17:01, 24 January 2025 (UTC)
::Thanks for your reply. [[User:RailwayEnthusiast2025|&lt;span style=&quot;color:green;&quot;&gt;'''''RailwayEnthusiast2025'''''&lt;/span&gt;]] ([[User talk:RailwayEnthusiast2025|talk page]]-[[Special:Contributions/RailwayEnthusiast2025|contribs]]) 17:03, 24 January 2025 (UTC)

== ''The Signpost'': 22 March 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editor: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/From the editor|''Hanami'']]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/News and notes|Deeper look at takedowns targeting Wikipedia]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/In the media|The good, the bad, and the unusual]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Recent research|Explaining the disappointing history of Flagged Revisions; and what's the impact of ChatGPT on Wikipedia so far?]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Traffic report|All the world's a stage, we are merely players...]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Gallery|WikiPortraits rule!]]

* Essay: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Essay|Unusual biographical images]]

* Obituary: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Obituary|Rest in peace]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 03:12, 22 March 2025 (UTC)
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== ''The Signpost'': 9 April 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* Special report: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Special report|Wikipedian and physician Ziyad al-Sufiani reportedly released from Saudi prison]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/In focus|WMF to explore &quot;common standards&quot; for NPOV policies; implications for project autonomy remain unclear]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/In the media|Indian judges demand removal of content critical of Asian News International]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/News and notes|35,000 user accounts compromised, locked in attempted credential-stuffing attack]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Op-ed|How crawlers impact the operations of the Wikimedia projects]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Opinion|Crawlers, hogs and gorillas]]

* Debriefing: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Debriefing|Giraffer's RfA debriefing]]

* Obituary: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Obituary|RHaworth, TomCat4680 and PawełMM]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Traffic report|Heigh-Ho, Heigh-Ho, off to report we go...]]

* News from Diff: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/News from Diff|Strengthening Wikipedia’s neutral point of view]]

* Comix: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Comix|Thirteen]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 18:26, 9 April 2025 (UTC)
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== Potential suicide risk - need admin assistance ==

Hello,

I am writing to report a potentially concerning post on Wikiversity « Should suicide be legal? »

The user appears at the very end of the chat


Thank you very much for your help. [[User:Cl51RLM2013|Cl51RLM2013]] ([[User talk:Cl51RLM2013|discuss]] • [[Special:Contributions/Cl51RLM2013|contribs]]) 18:37, 12 June 2025 (UTC)

:@[[User:Atcovi|Atcovi]]Just to add more details to my previous message:
:I am writing to report a potentially concerning post on Wikiversity in the discussion under 
:''&quot;Should suicide be legal?&quot;''
:.
:At the very end of the conversation, a user seems to express possible suicidal thoughts or emotional distress.
:As I am not qualified to handle this situation, I wanted to notify an administrator so that someone experienced can review the message and take appropriate action if necessary.
:Thank you very much for your help. [[User:Cl51RLM2013|Cl51RLM2013]] ([[User talk:Cl51RLM2013|discuss]] • [[Special:Contributions/Cl51RLM2013|contribs]]) 18:43, 12 June 2025 (UTC)
::{{ping|Cl51RLM2013}} Hello. Thank you for your report. It's unfortunate that this edit went by without anyone taking notice, but I've done my part and I've notified the Wikimedia Foundation concerning this edit. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:35, 12 June 2025 (UTC)</text>
      <sha1>19t4vxgptzps2257vlklr1ebmbyf2wg</sha1>
    </revision>
    <revision>
      <id>2718406</id>
      <parentid>2718405</parentid>
      <timestamp>2025-06-12T20:29:50Z</timestamp>
      <contributor>
        <username>Cl51RLM2013</username>
        <id>3003470</id>
      </contributor>
      <comment>/* Potential suicide risk - need admin assistance */ Reply</comment>
      <origin>2718406</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="58084" sha1="24967xvhxx3kjwzyj6kuyvwl0hgfvlf" xml:space="preserve">[[User:Atcovi/Archive 1|/Archive 1 (September 25, 2013 - November 15, 2013)]] • [[User talk:Atcovi/Archive 2|/Archive 2 (November 15, 2013 - November 27, 2013)]] • [[User talk:Atcovi/Archive 3|/Archive 3 (December 3, 2013 - December 25, 2013)]] • [[User talk:Atcovi/Archive 4|/Archive 4 (December 24, 2013 - January 1, 2014)]] • [[User talk:Atcovi/Archive 5|/Archive 5 (January 2, 2014 - January 20, 2014)]] • [[User talk:Atcovi/Archive 6|/Archive 6 (March 24, 2014 - April 14, 2014)]] • [[User talk:Atcovi/Archive 7|/Archive 7 (April 19, 2014 - September 8, 2014)]] • [[User talk:Atcovi/Archive 8|/Archive 8 (September 12, 2014 - November 3, 2014)]] • [[User talk:Atcovi/Archive 9|/Archive 9 (November 6, 2014 - January 26, 2015)]] • [[User talk:Atcovi/Archive 10|/Archive 10 (January 28, 2015 - March 11, 2015)]] • [[User talk:Atcovi/Archive 11|/Archive 11 (March 22, 2015 - June 25, 2016)]] • [[User talk:Atcovi/Archive 12 (June 26, 2016 - January 8, 2018)|/Archive 12 (June 26, 2016 - January 8, 2018)]] • [[User talk:Atcovi/Archive 13 (January 9, 2018 - April 14, 2023)|/Archive 13 (January 9, 2018 - April 14, 2023)]]

:''Before 2013: [https://en.wikiversity.org/w/index.php?title=User_talk:Atcovi&amp;diff=750617&amp;oldid=740650 see this]'' 
{{tmbox
|small = 
|image = [[Image:Busy desk.svg|{{#ifeq:|yes|40px|75x50px}}]]
|text = This user is busy in [http://en.wikipedia.org/wiki/Real_life Real Life] {{#if:|until&amp;nbsp;{{{end}}}&amp;nbsp;}}{{#if:|due to&amp;nbsp;{{{reason}}}&amp;nbsp;}}and may not respond swiftly to queries.{{#if:|&lt;P&gt;{{{msg}}} }} 
| style     = {{#if:|width: {{{width}}}px;}} {{#ifeq:{{{shadow}}}|yes|{{box-shadow|0px|2px|4px|rgba(0,0,0,0.2)}}|}}
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== Hydrangeas and Me (Short Story in Progress) ==

'''CHAPTER 1''':

It was a rainy Monday morning. The overcast clouds brought about a wave of light gray over the world, allowing the rain its refuge from the harsh sun. I woke up earlier than usual, due to the incessant knocking of light rain on my window. I rose from my bed, spread open the curtains, and raised the blinds. I looked outside, admittedly a bit upset about the current state of weather, and stepped down to change into my school uniform. 

The walk to school would prove a bit more difficult today because of the light spray, so I prepared my best umbrella and opened the door, ready to face the world. Each of my steps pittered and pattered. Water began to soak through my sole to my foot, giving me quite an icky feeling. I walked, feeling as if sponges had been rubber banded to my feet. I saw other students making the commute as well. Some of them rose their feet in comedic ways to avoid all the water, to no avail. Others ignored the puddles and continued forward. ''Rather courageous…'' I thought to myself, smiling lightly. Little moments like these can bring happiness, even in this less-than-desired weather.

Eventually, me and the other hoards of students successfully made their way to the front gate. Some teachers decided to move under the canopy of the school’s main entrance, instead of their typical formation at the school’s gate. As I entered the canopy, I closed my umbrella and shook off the rain on the tiles in front of the glass door. Some other students mimicked my behavior and I laughed, albeit embarrassingly. I walked into the school, put my umbrella on the stand and marched toward my shoe locker before changing into the inside schools that were required of us.

''Today… I hope…'' Unlike the other mundane days, today was a lot more exciting. She would be there, in the garden of hydrangeas. After the change, I noted the time. 7:30. I would have a good amount of time to see her. I rushed with a silly look on my face to the library. Toward the back, there were several large windows which looked out upon the gardening club’s area of operation. I made sure to pick a table that was close to the windows. I turned my head outside, and like clockwork, she stood there tending to the flowers.

Today, because of the rain, she wore a little umbrella cap supplied to the club to fend off the rain. She stood and cut stems with tiny gardening scissors. Her look was focused, yet soft. She didn’t seem like she wanted to injure the flowers, as if they meant everything to her. Each movement and cut, every one seemed to take special care toward the hydrangeas. I sat holding my head up with one hand watching her. Today’s view was particularly beautiful. Maybe the rain isn’t so bad for today. 

The girl in the garden walked toward the shed to grab a few more tools. There were about 20 more minutes until the first bell would ring. Despite that, she continued to work. Her soft look and gaze had enraptured me, it reminded me of more innocent times. It reassured me, and it calmed me. Everytime I did this, I would feel so tired and relaxed. I wish I could watch for hours. Today, I want to change things. I don’t want to watch from afar anymore. I wish to know more about this girl who tends to the garden. What kind of flowers does she like? How long has she been tending to this garden? Many, many questions trying to flow out to reach their answered counterparts. 15 minutes left, if I want to do this I better act fast.

Tens of days spent watching, relaxed, for it suddenly to turn to stress and anxiety. Would she accept me? Is this her own personal time I'm trying to infringe upon? Each doubt weighed my steps like ankle weights, but despite it all, I continued forward. I opened the glass door and went outside, with no umbrella. The rain was rather light, so it didn’t pose much of a threat to my clothing. Upon opening the door, the girl in the garden noticed my entrance. Suddenly the image became reality, like entering a painting. The smell of dirt and flowers, mixed with rain. Her appearance is much more real.

“H-hello…” I stammer, honestly not knowing what else to say.

“Hi! What brings you to the garden, were you interested in joining the club?” She directs that typical soft smile in my direction. It’s very hard to not turn away from such a bright light. The rain complemented her well, like a warm bowl of porridge. 

What should I say? I hadn’t intended on joining this club, but what do I say aside from that? However, I don’t want to lie…

“I wanted… to talk to you. To ''see'' you.” Ehhh… that’s not right.

The girl’s expression seems to lighten, giving me a good chance to make eye contact. She seems a bit confused.

“Do we know each other? I don’t remember ever seeing you in class… I’m sorry…”

“The hydrangeas, I mean. I want to talk to you about the hydrangeas.”

Her quizzical expression turns even brighter than the one she showed me first.

“Oh! What would you like to know?” she’s smiling brightly, and tilts forward a bit waiting for my response.

A conversation…! We’re having a conversation! Ahhh… I’m so excited but I have to keep my cool. 

“You cut the flowers with those scissors, why? Does that not hurt them?”

“Ah! It’s a process called pruning… “ She snips her scissors up toward me. She turns around and beckons me to one of the many bushes. I follow suit.

“These… are buds. It’s where the flower grows from. We prune them for many reasons, but most of the time it’s because the flower or stem is diseased.”

I’m smiling so much right now, I can’t contain myself. So much stimulation just from a little conversation. I laugh a bit, out loud.

“Hmmm…?” She looks up at me, hearing my light laughter.

I quickly blush, becoming a bit embarrassed. “S-sometimes… It’s the little things that bring me happiness…” My signature phrase comes out, resulting in a large smile formulating on my face.

The girl looks at me, and reflects my smile. “Do you like hydrangeas, too?”

“I-I think I do?”

The girl erupts into laughter, and I can’t help but join in.

“You think? Well, maybe you should think a little more… about the kinds of flowers you like. And maybe the kinds of things you say, as well?”

She lightly teases me, before standing up. “Do you have any other questions about these flowers?”

I think. An important question… yet familiar. “Do ''you'' like hydrangeas?”

I reflect her question back on her. Her expression grows warm, as if I can see the colors of her mood changing before me.

“I do… They bring me a lot of my own happiness, too.” I think back to what I said earlier and smile again. “In the rain… they are so beautiful too! It makes me think of…” She pauses. “Tears of joy, or maybe the feeling of contentment. They are so… simple. Y’know it’s not just people that can talk… These flowers can too. And when you listen close enough, you find out that they have a lot to say.”

“I’m not sure I can understand…”

“That’s okay, we all have to start somewhere.” She smiles mischievously, before walking toward the shed. “We have about 5 minutes to class, you know…? What’s your name?”

I panic over the fact that we have so little time, partially because my class is on the opposite side of where we are now. “I-I’m Akio…” 

“Well, Akio, thanks for talking to me… I’ll see you around!”

“Same to you!”

I walk back to the glass door before looking toward her again. She’s working in the shed, putting her tools away. I open the door inside. For some reason, leaving that rainy hydrangea world hurt me when I walked inside. As if the dryness was worse than rain…

—----------------------------------------------------------------------------------------------------------------------------

'''Date: 2018/07/21'''

'''Today, when I was tending to the hydrangeas, a boy approached me and asked me about them. I was nervous at first, because I didn’t know what he wanted.'''

'''He wanted to ask about the flowers I was tending to, and why I was pruning them. We talked a little bit after this. He seems interesting… yet suspicious! I will keep an eye out…'''

'''Again, me and Mom fought. It hurts a lot when we fight, I say things that I don’t mean to say. She wants me to do so many things, but I’m just one person. I think she’s just living through me… I love her, but I want to be my own person. Making my own choices and decisions.'''

'''School was bland, except for the gardening club (as usual)! We have a field trip to a sunflower field coming up. It’s always so beautiful to see those fields in the summer… I hope the skies are blue that day. Maybe me and the club members can take photographs.'''

'''Ahh… I CAN’T WAIT!'''

'''Sincerely (again),'''

'''Hana'''

That night when I got home, I plopped back on my bed. Hours of lecturing and note-taking always takes quite a toll on me. Well, mostly everyone else too. If you think any of that is fun, I must commend you. My bookbag slid onto the floor as I unbuttoned my uniform. I felt a bit too lazy to do anything else other than rest. I noticed a pencil was sticking from my shirt pocket, if left unnoticed it might’ve poked me. I removed it, and threw it across the room. Just cause?

Downstairs, I could hear the door open and close. “Akio, we’re home!” My mother called. “Welcome back.” I didn’t really attempt to yell this so I’m not too certain as to if the both of them actually heard that.

“Man…” I thought back to earlier this morning, when me and… And…? “Ah!” I exclaimed aloud, recognizing my mistake. I forgot to ask her name. I wonder?

“Akane? Hmm, maybe too harsh…” A soft complexion, warm smile… a love of flowers?

“Aki… Akemi…” Maybe I shouldn’t focus on A’s so much. Yet that letter seems like it would make some sense.

I kept deliberating as to what her name could potentially be before my thinking was interrupted. I heard a knock at the door. “Akio?” 

“Yeah, Mom?”

“I didn’t hear you welcome us, so I thought maybe you were out? You surprised me…”

“Sorry. ‘Welcome Home!’”

“Don’t tease! How was school?”

“Better than usual… Aside from the rain maybe.”

“Oho? Anything new happen?”

I thought back to how I expressed meeting the girl in the garden as ‘entering a painting.’

“‘Things may look up in your favor’” I said, like reading a fortune cookie.

“Very funny. Well, I’m glad…” My mom flashes me a warm smile, before leaving the room and closing the door.

“Don’t forget, this weekend is the festival in town. Your father and I will be going, you can come along too if you’d like?” She speaks through the door.

“Hmm… Maybe. Let me think about it.”

“Okay.”

I hear her footsteps as she makes her way down the stairs. I look up at the ceiling and use my body weight to launch myself from the comfort of my bed. I trudge over to my bookbag and collect a few slips of homework and textbooks.

“Time for the long haul…”

A few hours pass, as I complete sheet after sheet. I’m careful to review what we learned from our textbooks. My hand grows tired of writing and my eyes get weary. I look up at the clock.

10:32 PM. Yeesh, it’s rather late now. Best to get to sleep.

I close my blinds, and shut the curtains before making my final approach to the blanket kingdom that is my bed. It’s warm and fuzzy, and makes me smile with contentment. I hope that this feeling lasts forever.

Next week… Can’t come any sooner…

Maybe…

Sleep takes me before I can finish my thought.

'''CHAPTER 2''':

“...” 

My classroom door is shut, it seems the teacher has yet to arrive. I really have to stop getting here so early. The hallway seems rather barren this morning. Yet again, the rain continues and won’t let up. Even if it’s monsoon season, I want at least one sunny day, y’know? 

I sit down next to the door and put my bookbag next to me, I feel rather sleepy. The fatigue from last night’s battle still sits on my shoulders. “Hahhh…”

“Tired today, Akio?” A voice stirs me, yet my eyes remain closed. “Mmm…”

Wait. Who’s voice is that? I open my eyes and turn to see who spoke.

“Ah!” I yelp, accidentally. I quickly sit up, and try to straighten myself out.

“H-hello! Yes, last night, so much homework… Not much sleep either.”

It was the girl from the garden, and I was very startled. I couldn’t handle the cognitive dissonance of seeing her in the hallway. It was a first, and the fact that she was talking to me exacerbated this feeling a hundredfold. 

“I see. Well, I’m going to my classroom. See ya..!”

The girl makes her way up the hallway, marching with great purpose.

Mgghhh. A brief exchange, yet…

“W-wait…!”

She turns around. She seems a little startled by the amount of force I put into my voice. The hallway was rather empty, save for us two, after all.

“I never… got your name. Might I-I ask what it is?”

“Oh! You’re right! It’s Hana… Can’t believe I never told you. Apologies.”

Hana. Hana. A lot of A’s, huh?

Eventually, the teacher and a few students march up the opposite end of the hallway to our classroom. “Early today, Akio?” The teacher says, as he unlocks the door with her key.

“Something like that…” I responded. I’m admittedly a little embarrassed by what just happened in the hallway, even though it went rather well. An after-effect of love, I suppose.

The door finally opens and the smell of the classroom fills my nose. It’s rather comforting, but also fills me with boredom. The brief period of movement I get from door to chair is simply too little for my antsy legs. Maybe if they made every desk a treadmill it would alleviate the problem. I chuckle to myself at the thought of some of my classmates trying to keep up.

I walk and sit down at my desk, awaiting today’s lesson. A friend of mine, Jiro, turns to me. He had found his desk a bit before me.

“Oi, Akiooo! So early, today? What gives?”

“I’m always early.”

“Pshhh! Sure… Tell that to yourself last week, Mr. 5-minutes-after-the-bell”

“I’ll have you know that is not my last name.”

Me and Jiro have been friends since the start of the school year, we haven’t really known each other long, but due to our desks being in close proximity and our great chemistry, we’ve been able to get really close.

Jiro is rather eccentric and energetic. It’s a great match for my rather calm personality. We’d make a perfect straight man/funny man duo, if we were to pursue comedy.

“Yo, Akio, the festival is coming to town. And… We’ve never even hung out!? Let’s change that!” Jiro flashes a corporate smile, as if he was pitching his company’s product to a stern investor.

“Hmm… My parents asked me about the same thing…”

“It’s me or it’s them, Akio. No in betweens! I thought we had something…” Jiro pretends to tearfully sob, putting me in a rather awkward situation. Other students settling in begin to look at us. 

“Ok, ok… Maybe I’ll go with you, I had a choice to begin with. I’ll have an answer for you by tomorrow.”

“Perfect! It’s a date, then!” Jiro attempts to make his most masculine face, but I can’t help but start laughing.

“Good joke?” Jiro says, smiling lightly.

“More like a good face, that got me.”

“Nihihi!” Jiro’s face reminds me of a cat when he does this.

After this exchange, the teacher begins to give some announcements before class. Some of them pertaining to festival safety, seeing as a great majority of us would be in attendance. Others included information about clubs, the coming exams, and career documents.

All of us were in 12th grade, so after this, it was time to move on to the big world and get to work. Honestly, anytime I would hear anything about career forms or schooling after high school would always scare me. I was worried about putting myself out there in the world, afraid of what might come from that. Knowing that everyone else would have to face the same thing, it did make me feel a bit better. That light knot in my stomach still wouldn’t go away, however.

The class passed by, uneventfully. The teacher talked in great detail about some wars, called on a few clueless students, and sighed a great many times. The typical class experience. Jiro got the golden ticket today, he was sleeping when he was called on. I’ve never seen a stick of chalk fly so fast and hit so hard. I could’ve sworn that he would be sent flying, but he started holding his head in pain. I laughed, but quickly fixed my expression when he looked at me with “the stare of a thousand deaths.”

As we all began to walk out of the classroom after the bell, the hallways were flooding with oceans of students. Luckily, I had a boat and paddle to bear the waves. Or, maybe just experience? 

'''*'''

The rest of the school day passed by, the classes got faster with each one that came and went. I put my shoes on, and walked out from the entrance. It was cloudy today, but there was no rain. Maybe it’s really starting to grow on me. The rain usually maddens and annoys me, but this year I want to see it more than ever. 

Is it because of her? What even are these feelings of mine? Is it appropriate to attribute them to a real person? I would stare and stare at her in that garden, as if admiring a beautiful landscape portrait in a museum. When we talked those two times, I was so nervous I could barely keep it together. I don’t view myself as someone who’s lacking in confidence, or has low self-esteem, but her presence is almost choking. And it’s my own fault. The more I pedestalize her, the worse those interactions will get.

I’ve already confirmed it myself, in that garden. Hana is as real as those flowers. As real as the rain. Flesh, blood, bone. Breathing, beating, human. She gets sick, uses the bathroom, and makes mistakes.

“Maybe I’ve been thinking about this wrong…” I say aloud, albeit accidentally. I think it’s okay to be curious about who she is. I have to leave this mindset behind if I want to keep talking to her. I don’t really have much of a reason though, except for that I just want to. Life is funny, in that way. Sometimes we just want to do something, and we don’t really have to explain why. Rather comforting. 

On a whim, I decided to visit the garden today before I made the trek home. Walking to the side gate this time, I opened it and once again found myself at the whim of these flowers. I was half expecting people to be here, seeing as it is after-school, but there was no one to be found. It was rather ethereal. The scene was similar to yesterday’s, but it possessed much more weight. Perhaps it was because I was alone. I could be off my guard, in this beautiful place.

I walked by the hydrangea bushes, and touched their leaves. They can talk, huh? I move my hand gently to the flower and feel the petals. They are silky and soft, and a bit warm. Not too far off from human skin. The flower was a bright, light purple. It swayed with each touch, despite my light movements. As a joke, I put my ear up to the flower, as if to listen to what it was trying to tell me. A gust of wind blows through, and the flower hits my head a few times. Maybe it doesn’t like me too much? Upon realizing this, I burst into laughter. 

“Silly little flowers, maybe we’re equals after all?”

Before my exit, I wave and bow courteously for the flowers and open the garden gate. Much to my surprise, a few gardening club members stood on the other side of the opening. This moment was admittedly, rather embarrassing. For one, I really hope they didn’t hear me talking to those flowers. For two, am I allowed back here? I didn’t ever really think about that.

I gaze at each of their startled faces, and yet, Hana’s isn’t there. I am a bit disappointed, I let out a little sigh.

“W-what brings you to the garden?” One of the members perks up, a small boy who appears to be a bit nervous about the encounter. The other two girls look toward him and then back at me, expectant of an answer.

“I hope I wasn’t breaking any rules by being in there, I was just ta- …loo-king at the flowers? Is that okay?” I didn’t mean to sound so apologetic, but it came out rather emotional anyway.

“No, that won’t be an issue. As long as all flowers are accounted for.” One of the two girls speaks, and gives a bit of a stern answer. She still seems suspicious about my presence.

“Mei… No need to be so harsh, he doesn’t seem so bad after all.” The last girl speaks softly to the more brusque one, and gives a warm smile. I don’t know how to explain it, but I’m thanking her to high heaven right now. Who knows what would be in store for me had she not been here. My ears probably would’ve fallen off. 

“S-sorry again, I wasn't trying to cause any trouble.” I make my way past the exit, and attempt to pass by the three of them. I’m successful, but I stop and turn around hesitantly.

“I love the garden, please don’t stop talking with those flowers.”

I realize that’s not exactly what I wanted to say, and in my intense embarrassment I turn around and continue home. From behind me, I could hear the group laughing a bit. I could’ve swore I heard her name too…

—----------------------------------------------------------------------------------------------------------------------------

'''Date: 2018/07/29'''

'''A slower day than usual. Today was the last day of classes, meaning that we don’t come back until September. The festival will be starting tomorrow, as well. The week after, I FINALLY get to go on the sunflower trip. I am unbelievably excited for it.'''

'''I don’t have much else to say. Thanks, I guess?'''

'''Sincerely (again),'''

'''Hana'''

Today, we had the festival. I had inevitably let my parents know that instead of going with them, I would be going with Jiro. They didn’t seem disturbed by that fact, which was nice. Maybe even a little happy that they got to have some alone time. I guess this would be a win-win situation?

I had called Jiro a little while ago to confirm where we would meet before making the commute. It would be about a ten minute walk. Thank the heavens the sun is setting, or I don’t think I would’ve made it to the 5 minute mark. I was thinking of coming in my kimono, but it was much too hot to wear something like that. Decidedly, I just went with my plain clothes. 

I waited a few more hours for 5:50 to come around before leaving my house. The festival started at 6:30, but we wanted to look around a bit before it began. I made the trek outside of my front door and walked to the side of the road. Despite the sun going down, it was still unbearably hot. I raised my hand to cover my eyes while walking in the sun’s gaze. 

A few neighbors appeared to be preparing themselves for the festival as well. We lived in a rather small town, so most of the people around here prepared themselves for things like these.  [[User:IvoctA|IvoctA]] ([[User talk:IvoctA|discuss]] • [[Special:Contributions/IvoctA|contribs]]) 19:39, 16 September 2023 (UTC)

== Hello!  Wikijournal chat?   ==

Happy new year :)  Long time.

I just saw you've been working with WikiJournal; how are you finding this format and process?  What are the bottlenecks at the moment, what else might be possible?  &lt;span style=&quot;padding:0 2px 0 2px;background-color:white;color:#bbb;&quot;&gt;&amp;ndash;[[User:Sj|SJ]][[User Talk:Sj|&lt;font style=&quot;color:#f90;&quot;&gt;+&lt;/font&gt;]]&lt;/span&gt; 14:35, 25 January 2024 (UTC)

:Hey Sj, good morning.
:My submission for WJ has been quite slow due to IRL commitments, but I've had good experiences so far. One of the WJ reviewers was nice enough to give me and my buddy solid advice on how to improve our journal for submission, so I was pleased with that. The discussion at [[Talk:WikiJournal_User_Group#Current_status_of_WikiJournals]] is concerning, though, and I hope WJ will continue to be in operation. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:21, 25 January 2024 (UTC)

== ''The Signpost'': 31 January 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/News and notes|Wikipedian Osama Khalid celebrated his 30th birthday in jail]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Opinion|Until it happens to you]]

* Disinformation report: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Disinformation report|How paid editors squeeze you dry]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/In the media|Katherine Maher new NPR CEO, go check Wikipedia, race in the race]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/In focus|The long road of a featured article candidate, part 2]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Recent research|Croatian takeover was enabled by &quot;lack of bureaucratic openness and rules constraining [admins]&quot;]]

* Comix: [[w:en:Wikipedia:Wikipedia Signpost/2024-01-31/Comix|We've all got to start somewhere]]

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== Invitation to discuss page deletion policy ==

A discussion that might interest you has been started at [[Wikiversity:Requests_for_Deletion#Wikiversity:Deletion_Convention_2024]]. -- [[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 17:49, 15 February 2024 (UTC)

:{{ping|Guy vandegrift}} Hello Guy vandegrift, I appreciate you thinking about me and reaching out to me for my thoughts. I'm afraid I will have to echo Dave's response and abstain from formulating any suggestions, since I do not have the needed time to review the discussion. Best of luck. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:35, 17 February 2024 (UTC)

== Movie reviews ==

'''[[Paris, Texas]]''' is under a prod and when I found '''[[Book Reviews]]''' I thought of copying and creating a page called [[Movie reviews]].  I obviously don't need your permission (cc-by!), but was wondering what you thought of that idea. Any chance of attracting new movie reviews? ... Another idea would be to create a subspace under [[Essay]], with a subpage that links to [[Book reviews]].  [[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 09:54, 1 March 2024 (UTC)--Afterthought: See '''[[Essay/Collection]]'''-[[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 10:09, 1 March 2024 (UTC)

:Movie reviews would be interesting. It can be educational, but also promotional. Personally, I don't have interest in producing movie reviews - but setting it up for future users in the hopes it is developed in accordance with our guidelines does not sound like a bad idea. I think putting [[Book Reviews]] under an &quot;Essay&quot; subspace would be redundant (and provide exceptionally long page titles), and that may be the same for Movie reviews. I would lean towards making it a stand alone project and, if issues arise, we can address them when we cross that bridge. Thanks. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 00:15, 2 March 2024 (UTC)

::I am astonished by the success of [[Book Reviews]], but noticed one odd features: Certain titles are not shown on the front page. One example is [[Book_Reviews/A_Hero_of_Our_Time|A Hero for Our Time]]. I traced the problem to the dynamicpagelist and its count variable.  I think I can fix that feature.  Do you want me to?--[[User:Guy vandegrift|Guy vandegrift]] ([[User talk:Guy vandegrift|discuss]] • [[Special:Contributions/Guy vandegrift|contribs]]) 11:23, 2 March 2024 (UTC)
:::Of course, go for it! Thank you in advance. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:30, 2 March 2024 (UTC)

== ''The Signpost'': 4 September 2024 ==

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* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/News and notes|WikiCup enters final round, MCDC wraps up activities, 17-year-old hoax article unmasked]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/In the media|AI is not playing games anymore. Is Wikipedia ready?]]

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* News from the WMF: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/News from the WMF|Meet the 12 candidates running in the WMF Board of Trustees election]]

* Wikimania: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Wikimania|A month after Wikimania 2024]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-04/Serendipity|What it's like to be Wikimedian of the Year]]

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== ''The Signpost'': 26 September 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
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* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/In the media|Indian courts order Wikipedia to take down name of crime victim, and give up names of editors]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Serendipity|A Wikipedian at the 2024 Paralympics]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Opinion|asilvering's RfA debriefing]]

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* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-09-26/Traffic report|Jump in the line, rock your body in time]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 20:16, 26 September 2024 (UTC)
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== ''The Signpost'': 19 October 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/News and notes|One election's end, another election's beginning]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Recent research|&quot;As many as 5%&quot; of new English Wikipedia articles &quot;contain significant AI-generated content&quot;, says paper]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/In the media|Off to the races! Wikipedia wins!]]

* Contest: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Contest|A WikiCup for the underdeveloped world]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Traffic report|A scream breaks the still of the night]]

* Book review: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Book review|''The Editors'']]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Humour|The Newspaper Editors]]

* Crossword: [[w:en:Wikipedia:Wikipedia Signpost/2024-10-19/Crossword|Spilled Coffee Mug]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 11:18, 19 October 2024 (UTC)
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== ''The Signpost'': 6 November 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editors: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/From the editors|Editing Wikipedia should not be a crime]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/News and notes|Wikimedia Foundation shares ANI lawsuit updates; first admin elections appoint eleven sysops; first admin recalls opened; temporary accounts coming soon?]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/In the media|An old scrimmage, politics and purported libel]]

* Special report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Special report|Wikipedia editors face litigation, censorship]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Gallery|Why you should take more photos and upload them]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/In focus|Questions and answers about the court case]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Traffic report|Twisted tricks or tempting treats?]]

* Technology report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Technology report|Wikimedia tech, the Asian News International case, and the ultra-rare BLACKLOCK]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-06/Humour|Man quietly slinks away from talk page argument after realizing his argument dumb, wrong]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 08:09, 6 November 2024 (UTC)
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== ''The Signpost'': 18 November 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/News and notes|Open letter to WMF about court case breaks one thousand signatures, big arb case declined, U4C begins accepting cases]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/In the media|Summons issued for Wikipedia editors by Indian court, &quot;Gaza genocide&quot; RfC close in news, old admin Gwern now big AI guy, and a &quot;spectrum of reluctance&quot; over Australian place names]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/Recent research|SPINACH: AI help for asking Wikidata &quot;challenging real-world questions&quot;]]

* News from the WMF: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/News from the WMF|Wikimedia Foundation and Wikimedia Endowment audit reports: FY 2023–2024]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-11-18/Traffic report|Well, let us share with you our knowledge, about the electoral college]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 23:46, 18 November 2024 (UTC)
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== Page called Food Tests ==

Hello there,

I am contributing to the Food Tests page and I would like to inform you that we are currently expanding the page, and we are constantly adding new features to it. Please do not nominate the page for deletion any more throughout its improvement. This was just a kind notice.

[[Food Tests]]

Kind regards,

Rock

[[User:RockTransport|RockTransport]] ([[User talk:RockTransport|discuss]] • [[Special:Contributions/RockTransport|contribs]]) 20:40, 4 December 2024 (UTC)

:{{ping|RockTransport}} Hey Rock, no need to worry. You have around 3 months or so to improve the content of the page, and I'm sure with your intentions stated here you'll be able to provide content to the page that would suffice [[Wikiversity:What is Wikiversity?|our objectives]] by the 'deadline'. Thank you for your contributions and [[Template:Welcome|welcome to Wikiversity]] (make sure to check this page out for some useful tips for beginners)! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 23:06, 4 December 2024 (UTC)

== ''The Signpost'': 24 December 2024 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/News and notes|Responsibilities and liabilities as a &quot;Very Large Online Platform&quot;]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Op-ed|Beeblebrox on Wikipediocracy, the Committee, and everything]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Opinion|Graham87 on being the first-ever administrator recall subject]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/In the media|Delhi High Court considers ''Caravan'' and ''Ken'' for evaluating the ANI vs. WMF case]]

* From the archives: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/From the archives|Where to draw the line in reporting?]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Recent research|&quot;Wikipedia editors are quite prosocial&quot;, but those motivated by &quot;social image&quot; may put quantity over quality]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Humour|Backlash over Santa Claus' Wikipedia article intensifies]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Gallery|A feast of holidays and carols]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2024-12-24/Traffic report|Was a long and dark December]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 00:04, 25 December 2024 (UTC)
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== Wikiversity Newsletter ==

Hello Atcovi,
Would you mind if I included your course, that was featured on Main Page/News into the Wikiversity Newsletter, and giving a brief overview about it? 
Regards,
Rock [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  16:25, 6 January 2025 (UTC)

:{{ping|RockTransport}} That's fine. Take note that it isn't a course, it's just an essay. Thanks, —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 17:28, 6 January 2025 (UTC)
::Thanks, but on second thought, i might not add it due to the sensitive content mentioned, however, is promotion of Wikiversity's content allowed as part of the newsletter? [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  18:28, 6 January 2025 (UTC)
:::Well, promotion in terms of a basic description of the resource in question should be fine. I would assume it would be redundant to have them written out like an &quot;advertisement&quot;, but a basic description of the resource seems to be an educational benefit to the community. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 14:39, 7 January 2025 (UTC)
::::Thanks for your reply. -  [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:32, 8 January 2025 (UTC)
:::::And also, if you wanted to add your own [[User:RockTransport/Wikiversity Newsletter|description]] on the subject, you may do so. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:47, 8 January 2025 (UTC)

== Linking your YouTube account ==

Hello Atcovi,

On Wikiversity, is it allowed (or accepted) to link your personal YouTube account?

Kind regards,

Rock [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  19:12, 9 January 2025 (UTC)

:Hi RockTransport! Depends, though I'd personally discourage. Did you have a specific instance in mind? —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 22:32, 9 January 2025 (UTC)
::Yes, I was thinking of linking my YouTube account, so that's why I was wondering. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  08:39, 10 January 2025 (UTC)
:::If it is on your userpage, I don't see a problem with it, but if it is linked on the resources you're creating in the mainspace, it opens doors to potential solicitation, so I'd advise against the latter. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 15:40, 10 January 2025 (UTC)
::::Thanks. I was planning on doing it on my userpage. [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  16:54, 10 January 2025 (UTC)
:::::No problem with that AFAIK. Thank you for checking! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:05, 10 January 2025 (UTC)

== ''The Signpost'': 15 January 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editors: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/From the editors|Looking back, looking forward]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Traffic report|The most viewed articles of 2024]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/In the media|Will you be targeted?]]

* Technology report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Technology report|New Calculator template brings interactivity at last]]

* Essay: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Essay|Meet the Canadian who holds the longest editing streak on Wikipedia]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Opinion|Reflections one score hence]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/News and notes|It's a new dawn, it's a new day, it's a new life for me... and I'm feeling free]]

* Serendipity: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Serendipity|What we've left behind, and where we want to go next]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Op-ed|Elon Musk and the right on Wikipedia]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/In focus|Twenty years of The Signpost: What did it take?]]

* Arbitration report: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Arbitration report|Analyzing commonalities of some contentious topics]]

* Humour: [[w:en:Wikipedia:Wikipedia Signpost/2025-01-15/Humour|How to make friends on Wikipedia]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 07:58, 15 January 2025 (UTC)
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== Wikiversity Newsletter - Feedback ==

Hello Atcovi,

Could you give some feedback on the [[User:RockTransport/Wikiversity Newsletter|Wikiversity Newsletter]] if you want to/ if it's possible. This is because I plan on publishing it by the end of the month, and so I could expand the newsletter based on the feedback given.

Kind regards,

[[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  13:47, 18 January 2025 (UTC)

:Hi Rock Transport, I've made a few modifications. Feel free to tweak them if you desire. Thanks! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 16:09, 18 January 2025 (UTC)
::Thanks for helping @[[User:Atcovi|Atcovi]], have a great day! [[User:RockTransport|''Rock Transport'']] 😊 ([[User_talk:RockTransport|Talk page]])  17:13, 18 January 2025 (UTC)

== Signatures - citation? ==

Hello {{PAGENAME}},
On Wikiversity, for signatures, do we give a citation if we used inspiration from Wikipedia's Signatures page? I did it just to be safe, but I want to make sure.
[[User:RailwayEnthusiast2025|&lt;span style=&quot;color:green;&quot;&gt;'''''RailwayEnthusiast2025'''''&lt;/span&gt;]] ([[User talk:RailwayEnthusiast2025|talk page]]|[[Special:Contributions/RailwayEnthusiast2025|contribs]]) 16:24, 24 January 2025 (UTC)

:Good afternoon RailwayEnthusiast2025. No, not at all. You can if you want, but there is no obligation to do so. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 17:01, 24 January 2025 (UTC)
::Thanks for your reply. [[User:RailwayEnthusiast2025|&lt;span style=&quot;color:green;&quot;&gt;'''''RailwayEnthusiast2025'''''&lt;/span&gt;]] ([[User talk:RailwayEnthusiast2025|talk page]]-[[Special:Contributions/RailwayEnthusiast2025|contribs]]) 17:03, 24 January 2025 (UTC)

== ''The Signpost'': 22 March 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* From the editor: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/From the editor|''Hanami'']]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/News and notes|Deeper look at takedowns targeting Wikipedia]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/In the media|The good, the bad, and the unusual]]

* Recent research: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Recent research|Explaining the disappointing history of Flagged Revisions; and what's the impact of ChatGPT on Wikipedia so far?]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Traffic report|All the world's a stage, we are merely players...]]

* Gallery: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Gallery|WikiPortraits rule!]]

* Essay: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Essay|Unusual biographical images]]

* Obituary: [[w:en:Wikipedia:Wikipedia Signpost/2025-03-22/Obituary|Rest in peace]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 03:12, 22 March 2025 (UTC)
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== ''The Signpost'': 9 April 2025 ==

&lt;div lang=&quot;en&quot; dir=&quot;ltr&quot; class=&quot;mw-content-ltr&quot; style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;[[File:WikipediaSignpostIcon.svg|40px|right]] ''News, reports and features from the English Wikipedia's newspaper''&lt;/div&gt;
&lt;div style=&quot;column-count:2;&quot;&gt;
* Special report: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Special report|Wikipedian and physician Ziyad al-Sufiani reportedly released from Saudi prison]]

* In focus: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/In focus|WMF to explore &quot;common standards&quot; for NPOV policies; implications for project autonomy remain unclear]]

* In the media: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/In the media|Indian judges demand removal of content critical of Asian News International]]

* News and notes: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/News and notes|35,000 user accounts compromised, locked in attempted credential-stuffing attack]]

* Op-ed: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Op-ed|How crawlers impact the operations of the Wikimedia projects]]

* Opinion: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Opinion|Crawlers, hogs and gorillas]]

* Debriefing: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Debriefing|Giraffer's RfA debriefing]]

* Obituary: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Obituary|RHaworth, TomCat4680 and PawełMM]]

* Traffic report: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Traffic report|Heigh-Ho, Heigh-Ho, off to report we go...]]

* News from Diff: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/News from Diff|Strengthening Wikipedia’s neutral point of view]]

* Comix: [[w:en:Wikipedia:Wikipedia Signpost/2025-04-09/Comix|Thirteen]]

&lt;/div&gt;
&lt;div style=&quot;margin-top:10px; font-size:90%; padding-left:5px; font-family:Georgia, Palatino, Palatino Linotype, Times, Times New Roman, serif;&quot;&gt;'''[[w:en:Wikipedia:Wikipedia Signpost|Read this Signpost in full]]''' · [[w:en:Wikipedia:Signpost/Single|Single-page]] · [[m:Global message delivery/Targets/Signpost|Unsubscribe]] · [[m:Global message delivery|Global message delivery]] 18:26, 9 April 2025 (UTC)
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== Potential suicide risk - need admin assistance ==

Hello,

I am writing to report a potentially concerning post on Wikiversity « Should suicide be legal? »

The user appears at the very end of the chat


Thank you very much for your help. [[User:Cl51RLM2013|Cl51RLM2013]] ([[User talk:Cl51RLM2013|discuss]] • [[Special:Contributions/Cl51RLM2013|contribs]]) 18:37, 12 June 2025 (UTC)

:@[[User:Atcovi|Atcovi]]Just to add more details to my previous message:
:I am writing to report a potentially concerning post on Wikiversity in the discussion under 
:''&quot;Should suicide be legal?&quot;''
:.
:At the very end of the conversation, a user seems to express possible suicidal thoughts or emotional distress.
:As I am not qualified to handle this situation, I wanted to notify an administrator so that someone experienced can review the message and take appropriate action if necessary.
:Thank you very much for your help. [[User:Cl51RLM2013|Cl51RLM2013]] ([[User talk:Cl51RLM2013|discuss]] • [[Special:Contributions/Cl51RLM2013|contribs]]) 18:43, 12 June 2025 (UTC)
::{{ping|Cl51RLM2013}} Hello. Thank you for your report. It's unfortunate that this edit went by without anyone taking notice, but I've done my part and I've notified the Wikimedia Foundation concerning this edit. —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 19:35, 12 June 2025 (UTC)
:::@[[User:Atcovi|Atcovi]]:Thank you for your help. [[User:Cl51RLM2013|Cl51RLM2013]] ([[User talk:Cl51RLM2013|discuss]] • [[Special:Contributions/Cl51RLM2013|contribs]]) 20:29, 12 June 2025 (UTC)</text>
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  </page>
  <page>
    <title>VHDL programming in plain view</title>
    <ns>0</ns>
    <id>121359</id>
    <revision>
      <id>2718383</id>
      <parentid>2718309</parentid>
      <timestamp>2025-06-12T12:22:57Z</timestamp>
      <contributor>
        <username>Young1lim</username>
        <id>21186</id>
      </contributor>
      <comment>/* Signals &amp; Variables */</comment>
      <origin>2718383</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="2132" sha1="jw4ssd9qii2d4j14kuuhce5dztgwlcc" xml:space="preserve">&lt;!----------------------------------------------------------------------&gt;

== Flip Flop and Latch ==
* FFLatch.Overview.1.A ([[Media:FFLatch.Overview.1.A.20111103.pdf|pdf]])
* Counter.74LS193.1.A ([[Media:Counter.74LS193.1.A.20111108.pdf|pdf]])
* Clock.Overview.1.A ([[Media:Clock.Overview.1.A.20111108.pdf|pdf]])
* Function.Overview.1.A ([[Media:Function.Overview.1.A.20111201.pdf|pdf]])
&lt;br&gt; 

== Versions of VHDL ==
* VHDL Versions ([[Media:VHDL.1.A.Versions.20120619.pdf|pdf]])
* VHDL Libraries ([[Media:VHDL.1.A.Libraries.20140219.pdf|pdf]])
&lt;br&gt;

== Basic Features of VHDL ==
==== Data ====
* DataType.1.A ([[Media:VHDL.DataType.1.A.20120118.pdf|pdf]])
* DataObject.1.A ([[Media:VHDL.DataObject.1.A.20120118.pdf|pdf]])
* StdPackages.1.A ([[Media:VHDL.StdPackages.1.A.20120118.pdf|pdf]])
* Data.4.A.Attributes ([[Media:Data.4.A.Attribute.20120711.pdf|pdf]])
&lt;br&gt;

==== Signals &amp; Variables ====
* Signals &amp; Variables 
* Sequential Signal Assignments([[Media:Signal.4A.Sequential.20250612.pdf|pdf]])
* Concurrent &amp; Sequential Signal Assignments ([[Media:Signal.1.A.ConSeq.20120611.pdf|pdf]])
* Inertial &amp; Transport Delay Models ([[Media:Signal.2.A.InertTrans.20120704.pdf|pdf]])
* Simulation &amp; Synthesis ([[Media:Signal.3.A.SimSyn.20120504.pdf|pdf]])


&lt;br&gt;

==== Structure ====
* Component ([[Media:Struct.1.A.Component.20120804.pdf|pdf]])
* Configuration ([[Media:Struct.1.A.Configuration.20121003.pdf|pdf]])
* Generic ([[Media:Struct.1.A.Generic.20120802.pdf|pdf]])
&lt;/br&gt;

==== Entity and Architecture ====

&lt;br&gt; 
==== Block Statement ====

&lt;br&gt; 
==== Process Statement ====

&lt;br&gt;
==== Operators ====

&lt;br&gt;
==== Assignment Statement ====

&lt;br&gt; 
==== Concurrent Statement ====

&lt;br&gt; 
==== Sequential Control Statement ====

&lt;br&gt;
==== Function ====
* Function.1.A Usage ([[Media:Function.1.A.Usage.20120611.pdf|pdf]])
* Function.2.A Conversion Function ([[Media:Function.2.A.Conversion.pdf|pdf]])
* Function.3.A Resolution Function ([[Media:Function.3.A.Resolution.pdf|pdf]])

&lt;br&gt;
==== Procedure ====


&lt;br&gt;
==== Package ====
&lt;/br&gt; 
go to [ [[Electrical_%26_Computer_Engineering_Studies]] ]

[[Category:VHDL]]
[[Category:FPGA]]</text>
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    <revision>
      <id>2718397</id>
      <parentid>2718383</parentid>
      <timestamp>2025-06-12T17:19:25Z</timestamp>
      <contributor>
        <username>Young1lim</username>
        <id>21186</id>
      </contributor>
      <comment>/* Signals &amp; Variables */</comment>
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      <text bytes="2178" sha1="fod7x6xpsx50ozxeq0n4m0vauh0yy7g" xml:space="preserve">&lt;!----------------------------------------------------------------------&gt;

== Flip Flop and Latch ==
* FFLatch.Overview.1.A ([[Media:FFLatch.Overview.1.A.20111103.pdf|pdf]])
* Counter.74LS193.1.A ([[Media:Counter.74LS193.1.A.20111108.pdf|pdf]])
* Clock.Overview.1.A ([[Media:Clock.Overview.1.A.20111108.pdf|pdf]])
* Function.Overview.1.A ([[Media:Function.Overview.1.A.20111201.pdf|pdf]])
&lt;br&gt; 

== Versions of VHDL ==
* VHDL Versions ([[Media:VHDL.1.A.Versions.20120619.pdf|pdf]])
* VHDL Libraries ([[Media:VHDL.1.A.Libraries.20140219.pdf|pdf]])
&lt;br&gt;

== Basic Features of VHDL ==
==== Data ====
* DataType.1.A ([[Media:VHDL.DataType.1.A.20120118.pdf|pdf]])
* DataObject.1.A ([[Media:VHDL.DataObject.1.A.20120118.pdf|pdf]])
* StdPackages.1.A ([[Media:VHDL.StdPackages.1.A.20120118.pdf|pdf]])
* Data.4.A.Attributes ([[Media:Data.4.A.Attribute.20120711.pdf|pdf]])
&lt;br&gt;

==== Signals &amp; Variables ====
* Signals &amp; Variables ([[Media:Signal.1A.SigVar.20250612.pdf|pdf]])
* Sequential Signal Assignments ([[Media:Signal.4A.Sequential.20250612.pdf|pdf]])
* Concurrent &amp; Sequential Signal Assignments ([[Media:Signal.1.A.ConSeq.20120611.pdf|pdf]])
* Inertial &amp; Transport Delay Models ([[Media:Signal.2.A.InertTrans.20120704.pdf|pdf]])
* Simulation &amp; Synthesis ([[Media:Signal.3.A.SimSyn.20120504.pdf|pdf]])


&lt;br&gt;

==== Structure ====
* Component ([[Media:Struct.1.A.Component.20120804.pdf|pdf]])
* Configuration ([[Media:Struct.1.A.Configuration.20121003.pdf|pdf]])
* Generic ([[Media:Struct.1.A.Generic.20120802.pdf|pdf]])
&lt;/br&gt;

==== Entity and Architecture ====

&lt;br&gt; 
==== Block Statement ====

&lt;br&gt; 
==== Process Statement ====

&lt;br&gt;
==== Operators ====

&lt;br&gt;
==== Assignment Statement ====

&lt;br&gt; 
==== Concurrent Statement ====

&lt;br&gt; 
==== Sequential Control Statement ====

&lt;br&gt;
==== Function ====
* Function.1.A Usage ([[Media:Function.1.A.Usage.20120611.pdf|pdf]])
* Function.2.A Conversion Function ([[Media:Function.2.A.Conversion.pdf|pdf]])
* Function.3.A Resolution Function ([[Media:Function.3.A.Resolution.pdf|pdf]])

&lt;br&gt;
==== Procedure ====


&lt;br&gt;
==== Package ====
&lt;/br&gt; 
go to [ [[Electrical_%26_Computer_Engineering_Studies]] ]

[[Category:VHDL]]
[[Category:FPGA]]</text>
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The journal group is also currently applying to be a [[meta:WikiJournal|Wikimedia Foundation Sister Project]]. This would give greater control over the workings and formatting of the site, as well as a dedicated domain name.

[[Category:WikiJournal]]</text>
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  <page>
    <title>Should suicide be legal?</title>
    <ns>0</ns>
    <id>215892</id>
    <revision>
      <id>2718404</id>
      <parentid>2712086</parentid>
      <timestamp>2025-06-12T19:33:54Z</timestamp>
      <contributor>
        <username>Atcovi</username>
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      <text bytes="24486" sha1="le5giq88n85a5a7hglqyx382vthctfl" xml:space="preserve">{{Wikidebate}}

{{Law}}

'''Suicide''' is the act of intentionally causing one's own death. Following the [[Should voluntary euthanasia be legal?|debate about euthanasia]], should suicide be legal as well? Do we own our own lives so completely that we have a right to end them? Or do we owe certain obligations to our communities and thus we should stay alive even when we may want to die?

== Suicide should be legal ==

=== Pro ===

* {{Argument for}} Some people just don't want to live. No specific mental issues, they just don't want to live, especially with the way society is.
** {{Objection}} But why don't some people want to live? Surely, despite disappointments, life can also be fun? And what if everyone has a life purpose and reincarnation exists? Then they are stuck with life again in the next life. Then they'd better make something of the life they have now, right? Maybe you can also see it as a goal to make something of your life in a tough world. You can think of life as a big stage play where everyone plays their own part. A kind of game!
* {{Argument for}} In a free society, people should have the right to do what they want with their lives as long as they don't hurt others. Suicide can be what a rational adult chooses for him/herself. No State should have title over one's life. Taking away such choices is patronizing and dehumanizing.Also day by day, the cost of living like rent, groceries and other subscriptions are becoming unaffordable for the individual if he is already poor or has no wealth.
** {{Objection}} Suicide does hurt others. Maybe not physically, but the emotional and social costs of losing a loved one to suicide are huge.
*** {{Objection}} This is solely because the conditions we set for life as something of utmost value has created an emotional link that runs deeper than mere care; its a socially constructed concept. Similarly, the fear of death is so greatly exaggerated that the anxiety of and actually confronting it warps those emotions even further. This is to say that a large portion of that emotional pain and despair are not about the person in question or the issues they aim to escape from, but rather the potential they have with the person in grief and with the deceased, which many wouldn't argue against being a purely selfish desire. If we lived in a modern society where both life and death are held in equal and balanced regard, the concept of suicide would more than likely be less seen as taboo, and therefore the emotions regarding the action and aftermath would not be as impactful.
*** {{Objection}} So should someone else continue to suffer to keep other people happy?
*** {{Objection}} Just like others aren't responsible for our happiness, those who commit suicide are not responsible for how others feel about it. Don't keep empty people alive for your own selfish needs.
*** {{Objection}} While that is partially true, on a moral level, we should not be prioritizing more the wellbeing of the relatives of a potential suicide over the potential suicide itself, because no individual provides informed consent to being born, so no individual is under any obligation to remain alive for the emotional benefit of others.
*** {{Objection}} Many other life events cause emotional harm but are not illegal. For example, a son cutting off all contact with their parents for life (this can be as traumatizing as death). Or, negligent parenting leading to children developing psychological issues like extreme attention seeking behavior (which can lead to school shootings) are not illegal either.
*** {{Objection}} Even if a person dies naturally, it will still cause emotional harm to others. The cause of death might be a secondary issue. 
**** {{Objection}} You are working under the assumption that everyone belongs to a &quot;tribe&quot; and has people that care for them.
***** {{Objection}} Some people will care even though they are not related or as close. For example, for some, it would be upsetting to hear news about your neighbour's death and the reason of it might hurt you even more, maybe you would question yourself that you should have noticed that they seem a little off or that you would have done at least try something to prevent that. Even if you do not care enough, the thought would have strike across your head at least once.
****** {{Objection}} Perhaps it would be upsetting, but the legal right to choose trumps others' feelings about whatever choice is made.
** {{Objection}} Helping adults seek help for a severe mental illness is not patronizing. Suicide is not simply a &quot;decision&quot;, it is murder. And while it should not be criminalized like regular murder, it should not be supported or promoted by the law.
*** {{Objection}} You are taking a life of someone with out their promises
*** {{Objection}} Suicide is a decision, and not murder. Murder is the killing of another person from a person
*** {{Objection}} Helping adults who need help is not patronizing. It is the forcing of &quot;help&quot; which dehumanizes; forced psychiatric &quot;help&quot; is not help when an adult is actively declining such services. Might such &quot;help&quot; be what psychiatrist Dr. Thomas Szasz refereed to as cruel compassion in his book &quot;Cruel Compassion&quot;?
*** {{Objection}} Whether or not to engage in suicide is ultimately a personal decision. Suicide should not be promoted, however, it should not be prohibited through state sanctioned psychiatric coercion, force, and confinement. Voluntary/consensual psychiatry should remain legal. Nonconsensual psychiatry should be illegal.
**** {{Objection}} Nonconsensual psychiatry is necessary in some cases, legalizing suicide should not automatically mean all nonconsentual psychiatry is unethical. For example, if someone is not self-injurious, but unable to bathe or clothe themself, should they be committed to a psychiatric care facility by the state or allowed to rot simply because it is &quot;without consent&quot;?
* {{Argument for}} It is technically impossible to enforce a law against suicide, so as suicide is virtually legal, it should be also ''legally'' legal. 
** {{Objection}} But it is possible to punish those who attempt suicide and fail.
*** {{Objection}} Punishing someone who attempted suicide and failed would the most cruel and Sadistic act a government could perform, they already don't want to live because of the horrible conditions of their lives and you want them to be FORCED to continue living in even worse conditions? That would only prove their decision to commit suicide to be justified.
*** {{Objection}} Forcing someone to live an unwished life is equivalent to torture, so punishment to failure suicide is unhuman, beside useless.
**** {{Objection}} However, at the time of the suicide the person might be too overwhelmed in their emotions to think straight, this might let them sit through life to properly think if this is what they actually want.
***** {{Objection}} If the person however has any idea or wish to not exist, why should they be swayed against that if it is a conclusion?
***** {{Objection}} So if we do follow this, allow them to “sit and think” as you mention, and they still decide that they want suicide, would they then be permitted to take their life?
***** {{Objection}} Maybe so, but you should also allow the possibility that they were not overwhelmed and were thinking straight. Just because they want to make a decision you disagree with, does not mean they are automatically invalid in their opinion.
* {{Argument for}} We do not know what happens after death. It could be better after death for one who commits suicide. By prohibiting suicide we are imposing implicit theological (and Judeo-Christian) beliefs on others. Prohibitions on suicide impose the implicit theological belief that death is a worse consequences than life, and this imposition is morally incorrect.
** {{Objection}} The ambiguity of what happens after suicide is not a sound argument for why suicide should be legal.
*** {{Objection}} The fact we don't allow suicide because of fantasy religious beliefs is not an argument for it not being legal. Who has the right to tell another what to do with their life? 
** {{Objection}} Precisely since we don't know what happens next, we can just wait and see until later—there is no rush to die now, since anyone who would commit suicide will die of some other cause anyway.
*** {{Objection}} For people in crippling pain where they have no life why force them to suffer , that is cruel sadistic and vile
*** {{Objection}} Forcing adults to wait is dehumanizing and robbing them of personal responsibility and freedom. We should use persuasion and kindness to entice adults to remain alive, not coercion.
*** {{Objection}} &quot;Just wait&quot; is not feasible for someone suffering from mental anguish or any other sickness making life unbearable.
* {{Argument for}} Suicide can be seen as a form of migration. Prohibiting suicide is like a nation stating that its citizens cannot leave its borders.
** {{Objection}} Suicide and migration are totally different concepts. For example, migration is impermanent and reversible, while suicide is permanent.
*** {{Objection}} It is unacceptable to force any being with self awareness to live in despair and despondence just because it's the majority opinion that it's not okay to take oneself out of existence.
*** {{Objection}} Well technically we don’t know that for sure, we don’t know if reincarnation is a possibility after death, also in many situations a person can be forced to stay in a country against their will 
*** {{Objection}} If I make an active choice of leaving the country I was born in settle abroad without the intentions of coming back. The foreign state is ok to take me in, can my country of origin stop me from doing so or would it be morally correct?
**** {{Objection}} Sure you can have the intention of never coming back; however, you can change your mind in the future. With suicide, you cannot change your mind. Once you make that decision, it is permanent.
* {{Argument for}} Sick people —especially mentally ill ones— have no right to force their illness on someone else by having children. Those opposed to suicide need to support euthanasia at a minimum.
** {{Objection}} This argument assumes that mentally ill people have only two options (both implies dying): commits suicide, or must be  euthanized . Still, this argument should go to another debate, not in this one about suicide. I have created that new debate at [[Should mentally ill people be allowed to have children?]]
*** {{Objection}} As one who is mentally ill with many varying degrees of issues, I feel it is no different than having someone financially incapable of supporting their children a part of this question. Anyone who cannot be a provider, caregiver, and guiding force in a new person's life shouldn't be allowed to reproduce. Although the American aspect rewards those who reproduce constantly regardless of means or mentality. Welfare is for the common good right?
* {{Argument for}} Suicides can help to solve overcrowding problems. One suicide is one less person who will not have children.
** {{Objection}} If people think this way, some people will sacrifice themselves just for the sake of others and the world, this would create another problem.
*** {{Objection}} I agree with the first post. Population and overcrowding are issues that somehow are ignored, but are becoming far more relevant. If one is truly in control of said life, why can't one choose to not exist? It is not a viable solution to force the suffering to live indefinitely just to support the emotionally and financially hungry.
*** {{Objection}} People sacrifice themselves for others all of the time in non-suicidal capacities. Professionally people can join the military, or it can be as simple as pushing somebody out of the way of a train.
** {{Objection}} Overcrowding is not created by an increase in population, thus, would not be solved by suicide. Overcrowding is a result of increasing population density due to perception of efficiency and preference. It can be solved through technological and educational advancement. Earth is huge. 
*** {{Objection}} And resources are finite, I don't know off the top of my head how much of my taxes go towards wasteful causes like keeping innocent people in jail, feeding generational welfare recipients, or keeping folks alive that just don't want to be here. That money can't be spent better? I would rather it go to repainting lines on the road than wasted on forcing someone to be alive in any circumstance.
*** {{Objection}} Just because overcrowding isn't caused by a lack of suicide doesn't mean it couldn't be alleviated by suicides. This only makes logical sense. Another example of this logic: depression in many cases isn't caused by a serotonin deficiency, but medications that increase serotonin do alleviate depression. 
*** {{Objection}} Earth is not huge, land is very limited in fact. True, increase in population is also due to longer lifespans, but especially people in the third world continue to have lots of children of which more and more immigrate into Western first world nations, artificially increasing the otherwise naturally decreasing populations.
**** {{Objection}} The third world growing population is not because they commit suicide to little, but because of the historical socioeconomic backwardness (most of which is due to western countries).
* {{Argument for}} If a person commits suicide because he/she is depressed, he/she will not negatively influence other people any more.
** {{Objection}} This argument is insensitive to people suffering from mental illnesses like depression. A person suffering from depression already deals with a lot of guilt. Such statements can inhibit any recovery they have a chance at making. No one wants to &quot;negatively influence&quot; or hurt anyone else. It is not valid to support the suicide of someone suffering from depression just so that there might be lesser &quot;negative influence&quot; to deal with. In fact, we should learn to support others better, whether it is in their right to continue living, or not. But not to burden or force them with either decision.
*** {{Objection}} That depends on the situation. Hitler was very obviously capable of suicide. I'm not a phychologist but had he ate that bullet a few years sooner...
**** {{Objection}} ….Another political figure head would have been selected in his place to lead what was a steadily growing Nazi party, feeding on the resentment and anger of a post-ww1 Germany. 
** {{Objection}} This argument is insensitive to people suffering from mental illnesses like depression. A person suffering from depression already deals with a lot of guilt. Such statements can inhibit any recovery they have a chance at making. No one wants to &quot;negatively influence&quot; or hurt anyone else. It is not valid to support the suicide of someone suffering from depression just so that there might be lesser &quot;negative influence&quot; to deal with. In fact, we should learn to support others better, whether it is in their right to continue living, or not. But not to burden or force them with either decision.
* {{Argument for}} In addition to the fact that suicide should be legal, places where one can be euthanized should be legal and available too. First, this stops a lot of trauma of those 'victims' that find their loved ones whom have committed suicide. Second, it stops botched attempts which add even more trauma to the true individual.
** {{Objection}} Although suicide and euthanasia are highly related, there is a separated debate for euthanasia. Please find it in [[Should voluntary euthanasia be legal?]]
*** {{Objection}} There should and shouldn't be a separate debate for euthanasia. All aspects of control and true freedom of one's life shouldn't be under any restrictions due to other's opinions and influence. If you feel that this world is not for you, than feel no regrets or pressure although the selfish majority may want you to.
* {{Argument for}} Punishing suicide is cruel, as many people who have been driven to this point will have  problems which have better solutions than jail time, which would likely just make them even more suicidal.

=== Con ===

* {{Argument against}} Suicide creates an emotional toll beyond simply the person who is suffering the cause of suicidal ideation. It can create feelings of survivor's remorse and intense mourning and trauma for those who are close to this individual. Any possible form of discouragement should be seen as a positive step.
** {{Objection}} So basically put... Don't control your own life because it affects others..? Isn't that a primarily selfish argument?
** {{Objection}} Any death can cause mourning and trauma for those close to the person that dies. The person does not owe their presence to anyone. This can be seen with how absent parents are not always penalized by the law (they may only be required to offer financial support, and may even lose the ability to provide physical support to their child. This can cause trauma for the family but the law doesn’t explicitly prohibit it).
** {{Objection}} If suicide were legal, the person would likely be able to say “goodbye” and explain themselves or answer any questions others have beforehand (without getting dragged away to a hospital). This would likely lessen the emotional anguish felt by family/friends/acquaintances etc.
*** {{Objection}} Suicide is already legal in most of the world, but this is not what happens in reality.
** {{Objection}} Criminalisation of suicide creates a greater emotional toll. It makes it harder for the person struggling to reach out and get help. if they go through with the act the loved ones have to deal with them being known as a criminal. If the suicidal person fails, their loved ones have to see them get punished or hide what they know out of fear.
** {{Objection}} Emotional toll is not a logical criterion for the illegality of suicide because the origin of one's own emotion is entirely caused by and within the self, through the perceptions and relationships one has of and with self, logic and reality.
*** {{Objection}} Formerly a transphobic objection
** {{Objection}} Although the emotional toll to others exists, the right of an adult to end their own life is more important than the feelings of other adults who were not able to persuade other adults to not engage in suicide.
* {{Argument against}} Suicide is usually a permanent solution to a temporary problem. Since most suicides are a product of mental illness and mental illnesses can be transitory, treated, or even cured, then we should discourage people from killing themselves as a way of addressing mental illness.
** {{Objection}} Mental illnesses are a social construct and are not real illnesses, they are &quot;metaphorical&quot; illnesses. The idea of mental illness is often used as a method of labeling, infantilizing and invalidating an adult's decision. There is no objective means of medical diagnosis for some of the mental conditions described in the ''{{W|Diagnostic and Statistical Manual of Mental Disorders}}''. They are diagnosed using verbal interviews and subjective judgement.
*** {{Objection}} Many mental illnesses are caused by aberrant pathology that can be detected.
*** {{Objection}} To say that mental illness is a social construct and not a medical reality is to ignore and invalidate the entire psychiatric, psychological, and neurological communities. As for many other illnesses, mental illness is not some arbitrary classification decided on by asking someone how they feel on a whim, but rather by observing patterns in mood, behavior, and thought over an extended period of time.
**** {{Objection}} This is an {{W|argument from authority}}. Authorities have been wrong many times in the past. Other arguments are needed.
***** {{Objection}} This is an {{W|argument from fallacy}}. Just because this argument is able to categorize something as a logical fallacy does not mean it is untrue. It was  not shown any evidence at all that the psychiatric and other mental scientists who believe, based on the evidence they have seen, that mental illness is an objective thing are incorrect. 
****** {{Objection}} There is no consensus on the diagnostic labelling of psychology. Many in the scientific community view the term &quot;mental illness&quot; as an inappropriate metaphor for what they believe to be emotional or societal problems, and not legitimate illnesses.
******* {{Objection}} But there is consensus on the diagnostic labelling of traumatic brain injuries, and physical damage to your brain has a high risk of suicide.  Physical damage to the brain is not an &quot;emotional&quot; or &quot;societal&quot; problem.
*** {{Objection}} Mental illnesses are real, objective, and highly prevalent throughout the world. The most common are depression and anxiety, but also posttraumatic stress disorder, schizophrenia, conduct disorder, bipolar disorder, and drug addiction.
** {{Objection}} Just because something ought to be discouraged does not mean it should be illegal. Many things are illegal and this ends up harming people, for instance laws against drugs end up harming drug addicts by criminalizing and punishing them, rather than treating their disease. If mental illness is truly an illness than it ought to be treated, just like any other illness, and not criminalized through illegality.
** {{Objection}} Suicide is not only a permanent solution to a temporary problem, it's a permanent solution to all problems, forever.
*** {{Objection}} I believe that that is the point.
*** {{Objection}} Sometimes it’s not a temporary problem, people can’t control the situation that they are born in. Abusive households, poverty, sickness, and why should someone be forced to work that much harder just to live a bearable  life that they didn’t consent to live in the first place. This is like the equivalent of forced labor.
*** {{Objection}} This statement minimizes the pain of one who is suicidal, it shows the lack of understanding of the pain a suicidal person is enduring and increases their isolation. It legitimizes suicide as an option to permanently end one's pain. It can cause more harm than good to say this to a suicidal person.
**** {{Objection}} To assume how a person would feel after being told suicide is a viable option is irrational, because all people are different, and perceive the world and it's contents in different ways.
* {{Argument against}} If a person is in debt, the act of committing suicide would lead to unpaid debts, this would ultimately hurt someone else financially.&lt;ref&gt;{{Cite web|url=https://suicidepreventioncommunity.wordpress.com/2010/03/05/please-stop-saying-suicide-is-a-permanent-solution/|title=Please Stop Saying, 'Suicide is a permanent solution...'|date=2010-03-05|website=Suicide Prevention News and Comment|language=en|access-date=2020-09-09}}&lt;/ref&gt;
** {{Objection}} Everyone is born with a life. In that life, you can owe money, but in the end, we all have the privilege of losing the life, as a life cannot be compared to the likes of money. When one dies, the blame can be put on the abstract thought of the debtor, akin to the money that they owe. Therefore, the debt will be paid by their life and cannot be put into monetary values, as they are different things entirely. Money is a social construct, life is made from something else.
** {{Objection}} The person will probably do it anyways even if there not legally allowed to
** {{Objection}} The creditor could also be hurt financially by the debtor dying prematurely or otherwise being rendered incapable of paying their debt. That is a risk that the creditor takes on when lending them funds in the first place. And, mitigating those risks is the specific role of insurance companies.

== See also ==

* [[Suicide]]
* [[Should voluntary euthanasia be legal?]]

== External links ==

* [[Wikipedia:Suicide legislation]]

== Further reading ==

* {{Cite book|title=Suicide Prohibition: The Shame of Medicine|last=Szasz|first=Thomas}}
* {{Cite book|title=Fatal Freedom: The Ethics and Politics of Suicide|last=Szasz|first=Thomas}}
* {{Cite book|title=The Contribution of Natural Law Theory to Moral and Legal Debate on Suicide, Assisted Suicide and Euthanasia|last=Paterson|first=Craig}}

== References ==

{{Reflist}}

[[Category:Death]]
[[Category:Politics]]
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I am writing to report a potentially concerning post on Wikiversity in the discussion under &quot;Should suicide be legal?&quot;.
At the very end of the conversation, a user seems to express possible suicidal thoughts or emotional distress.
As I am not qualified to handle this situation, I wanted to notify an administrator so that someone experienced can review the message and take appropriate action if necessary.
Thank you very much for your help.

== State of the law ==

Suicide is legal. It is just effectively illegal. [[User:Michael Ten|Michael Ten]] ([[User talk:Michael Ten|discuss]] • [[Special:Contributions/Michael Ten|contribs]]) 08:08, 9 October 2016 (UTC)
:{{Ping|Michael Ten}} How so? If anything, you could maybe argue the opposite... There may be laws against it but they are impossible to enforce. And besides, laws change by jurisdiction by definition. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 08:24, 9 October 2016 (UTC)
::How so? It is legal because there are no criminal penalties for attempting that I am aware of. There are psychiatric penalties. Therefore, suicide is in fact legal, but it is also legal to lock individual up for trying to engage in suicide in psychiatric wards, thereby making it effectively illegal. [[User:Michael Ten|Michael Ten]] ([[User talk:Michael Ten|discuss]] • [[Special:Contributions/Michael Ten|contribs]]) 08:35, 9 October 2016 (UTC)

== Debate censorship? ==

Is debate censorship [https://en.wikiversity.org/w/index.php?title=Should_suicide_be_legal%3F&amp;diff=1661564&amp;oldid=1661563 occurring]? If debate censorship is going to occur without prior discussion, I probably will not participate. See [https://en.wikiversity.org/w/index.php?title=Should_suicide_be_legal%3F&amp;diff=1661564&amp;oldid=1661563 here]. Good luck to you. [[User:Michael Ten|Michael Ten]] ([[User talk:Michael Ten|discuss]] • [[Special:Contributions/Michael Ten|contribs]]) 07:48, 11 March 2017 (UTC)
:{{Ping|Michael Ten}} Debating the reality of mental illness from some Szaszian/Scientology perspective is so far afield from what this debate is that it's irrelevant. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 08:45, 11 March 2017 (UTC)
:: {{Ping|Koavf}} I'm not sure if I understand your statement. Please simply it or clarify it for me. [[User:Michael Ten|Michael Ten]] ([[User talk:Michael Ten|discuss]] • [[Special:Contributions/Michael Ten|contribs]]) 22:43, 12 March 2017 (UTC)
:::{{Ping|Michael Ten}} The debate is about whether or not suicide should be legal. A tangential debate about whether mental illness exists is outside the scope of this debate. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 23:02, 12 March 2017 (UTC)
::::{{Ping|Koavf}} As I see it, you are exactly wrong, because the idea/concept of mental illness is used as justification to effectively outlaw suicide. If you explore the myth of mental illness, then you undermine the justifications of psychiatric coercion and confinement (which is how suicide effectively illegal). Have you read any of psychiatrist Thomas Szasz's works, emeritus professor psychiatry? He explains all this. You seem to be censoring debate. Thomas Szasz compares the error of the idea of mental illness to the error in idea of [[w:Phlogiston theory|phlogiston]], in his book The Medicalization of Everyday Life. [[User:Michael Ten|Michael Ten]] ([[User talk:Michael Ten|discuss]] • [[Special:Contributions/Michael Ten|contribs]]) 00:08, 13 March 2017 (UTC)
:::::{{Ping|Michael Ten|Koavf}} Relax guys. Speaking of &quot;censorship&quot; is inadequate. Censorship would imply that some authority controls content, but here there's no authority, we're all users. If we don't like a revert, we revert it or come here to the talk page and discuss it (as you did). That being said, I think that the sub-debate about the non-existence of mental illness is interesting and relevant. However, having read your arguments, it looks to me like you were each trying to &quot;win&quot;, rather than trying to construct together a logically organized resource of arguments and objections, which is what Wikidebate is all about (please re-read [[Wikidebate/Guidelines]]). Today or tomorrow I will bring back the chunks of your arguments that make sense (which are many) stripped out of all the heat of your emotions and personal attacks. Any help would be welcome! And by the way, I think that this existence/non-existence of mental illness deserves a wikidebate of its own. ;-) --[[User:Sophivorus|Sophivorus]] ([[User talk:Sophivorus|discuss]] • [[Special:Contributions/Sophivorus|contribs]]) 01:05, 13 March 2017 (UTC)
:::::{{Ping|Michael Ten}} As I pointed out above, I am familiar with Szasz and Scientology. It's garbage. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 02:40, 13 March 2017 (UTC)

Well, I have restored your debate in much shorter and neutral terms. Please feel free to add any further objections you want, but please honor the [[Wikidebate/Guidelines|guidelines]]. I will probably turn this sub-debate into its own wikidebate sooner or later, cheers! --[[User:Sophivorus|Sophivorus]] ([[User talk:Sophivorus|discuss]] • [[Special:Contributions/Sophivorus|contribs]]) 13:05, 13 March 2017 (UTC)

== Suicide shouldn't not be illegal Nor Recommended ==

Shouldn't suicide be illegal.  Well no it shouldn't  law enforcement shouldn't not prohibit or interfere with someone who is having mental health issues. Putting a law that makes someone worry even more about the topic doesn't reduce their thoughts it just makes more street build up about the topic.

No law shouldn't be put to not allow someone to do what they want with their body, no it shouldn't be  suggested but Putting a law on it is just something that restricts what people can and can't do with their own body.
It's like being a loud to take birth control and Putting and law on it because it stop pregnancy, that is similar towards what the law would be standing for. 
No suicide wouldn't be needed or so high if people understood how to respect every regardless or sex, gender, race,sexuality, religious beliefs anything. [[User:LIlOzzy|LIlOzzy]] ([[User talk:LIlOzzy|discuss]] • [[Special:Contributions/LIlOzzy|contribs]]) 04:21, 29 January 2022 (UTC)

==My believe as someone with suicidal thoughts ==
As somebody who is currently struggling with suicidal thoughts (please don’t make all of the replies be about my personal life) I would like to share what I believe the most commonly thought process is for people struggling with depression and suicidal thoughts. It’s actually very simple, will there be long-term happiness for me in the future, if not, then what can I do about it?Do I choose suffering, suffering, or simply nothing? For most people (that I have researched), it is simply a case of “what is the best decision I can make? What is the next step that will cause me the most long-term happiness in my life” and when the rest of your life looks like it will be nothing but pain, then simply ceasing to feel anything actually causes MORE happiness in the long run. There isn’t really an argument here but I thought I should share since most of the people here are making points based on what they see from the outside. {{unsigned|The bruh bandit}}
:I think that's a good point. I believe every human being pursues happiness. And if for your feeling you cannot experience happiness in your life, then being dead may seem like the only option to become happy. For several years now I accept things in my life as they are and do not resist them. I don't really believe in free will anymore. I see life as one big play in which I play a part. Maybe it sounds pessimistic (even though I am very optimistic in my life), but it actually makes me feel happy - just the idea that you have no control over anything, things turn out the way they do and you are only fulfilling a temporary role in this life. At least that's how I live my life. Maybe it will help others as well? But anyway: thanks for sharing your thoughts! Kind regards, [[User:S. Perquin|S. Perquin]] ([[User talk:S. Perquin|discuss]] • [[Special:Contributions/S. Perquin|contribs]]) 20:14, 23 July 2024 (UTC)

==Arguments being deleted==
I don't understand having a valid point on the argument/s and then having them deleted due to someone's personal opinion. {{unsigned|Abusedandforgotten}}
:{{Ping|Abusedandforgotten}} It's best practice to not just outright ''delete'' most arguments unless they are really bad or off topic. See [[Wikidebate]] for our best practices, etc. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 21:15, 20 February 2024 (UTC)
::I had a few comments on the suicide topic page that were in tune to the objective topic before, but they disappeared all of a sudden... I created a new profile to further the information on the topic previously stated. I guess I can understand as a new user and I do appreciate your response and concern.  [[User:Abusedandforgotten|Abusedandforgotten]] ([[User talk:Abusedandforgotten|discuss]] • [[Special:Contributions/Abusedandforgotten|contribs]]) 21:19, 20 February 2024 (UTC)
:::{{Ping|Abusedandforgotten}} I am one of the administrators here (called custodians) and I am happy to help you make sure that your experience is positive and if anything is confusing, please don't hesitate to reach out directly. In short, the Wikidebate format is several years old now, but is still an ongoing experiment and sometimes, we don't get everything correct. So new users are very valuable in helping us figure out the best way to present this debate learning format. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 21:22, 20 February 2024 (UTC)
::::Ahh I see and I understand. I am definitely new to the online world and unfamiliar with technology. As someone older, it is possible I have erred in some way without realizing it. Thank you for your quick responses and amiable attitude! I'll try to learn more 😅 [[User:Abusedandforgotten|Abusedandforgotten]] ([[User talk:Abusedandforgotten|discuss]] • [[Special:Contributions/Abusedandforgotten|contribs]]) 21:27, 20 February 2024 (UTC)
:::::@[[User:Abusedandforgotten|Abusedandforgotten]] Hi, and welcome! I reverted some of your edits because, as Justin mentioned, when removing (or modifying) existing content, it's best to leave a short &quot;Edit summary&quot; (the field generally found under the edit box, near the Publish button) so that others can more easily understand your reasoning. As to the arguments you '''added''', I think they are very valuable and welcome additions to the debate. Thanks! [[User:Sophivorus|Sophivorus]] ([[User talk:Sophivorus|discuss]] • [[Special:Contributions/Sophivorus|contribs]]) 22:01, 20 February 2024 (UTC)
::::::Ahh and as I have read, it's best not to attack or subvert any given comment without reason. I appreciate your actions and apologize for the inconvenience. [[User:Abusedandforgotten|Abusedandforgotten]] ([[User talk:Abusedandforgotten|discuss]] • [[Special:Contributions/Abusedandforgotten|contribs]]) 22:06, 20 February 2024 (UTC)
:::::::It is 100% worth the investment of time to engage with users who are acting in good faith and who want to help out here. I'm hopeful you will stick around and add more knowledge. —[[User:Koavf|Justin (&lt;span style=&quot;color:grey&quot;&gt;ko'''a'''vf&lt;/span&gt;)]]&lt;span style=&quot;color:red&quot;&gt;❤[[User talk:Koavf|T]]☮[[Special:Contributions/Koavf|C]]☺[[Special:Emailuser/Koavf|M]]☯&lt;/span&gt; 22:45, 20 February 2024 (UTC)</text>
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==Overview==
There are many types of writers, and many types of written content. One problem that many writers face is writer's block. Writer's block is a common complaint of writers from every profession, referring to the inability or difficulty in creating written content. This topic is not well understood, and information provided may be general or vague. This chapter addresses the issue of writer's block considering psychological theory and research in order to offer some practical solutions for dealing with writer's block.  

{{RoundBoxTop|theme=2}}
'''Focus questions:'''
* What is writer's block?
* What are the theories surrounding writers block? 
* How do you overcome writer's block?
{{RoundBoxBottom}}

==Defining writer's block==
Writer’s block, an inability to write (Huston, 1998), varies in its definition (Boise, 1985). The generally accepted definition was provided by Rose (1984), who defined writer’s block as the inability for someone, who has the skills and the commitment to write, to create written content, distinct from the inability to write due to lack of skill, or lack of effort. However Boise (1985), commenting on the vagueness of the term, raised the issue of what the label of writer’s block might cover. Was there one type of block or many? Should those suffering from anxiety be placed into the same category as those who display procrastination? An individual experience, it can occur to writers of any age or group, at any stage in the writing process, though most blocks happen during the composition and articulation processes of writing (Bastug, Ertem &amp; Keskin, 2016; Ahmed, 2019; Boice, 1985). Rose (1984) describes experiences of [[wikipedia:Procrastination|procrastination]], missing deadlines, feelings of anger, fear, and confusion due to unproductive work. Productivity is not necessarily stopped completely (Rose, 1984). The average length of a block is a few weeks but blocks can vary from a few days to over a year (Ahmed, 2019).

[[File:Amp-55-1-68-fig1a.gif|alt=Self-determination continuum|thumb|''Figure 1.'' The self-determination continuum, showing intrinsic, extrinsic and amotivation.]]

== Writer's block in theory ==
Various theories have been connected to writer’s block, describing causes from a variety of perspectives. Theories describing [[wikipedia:Motivation|motivational]], [[wikipedia:Cognition|cognitive]], [[wikipedia:Affect_(psychology)|affective]], and [[wikipedia:Psychological_stress|stress]] related causes have been suggested in connection with writer’s block (Ahmed, 2019; Davidson, 2014; Rose, 1980). Here the [[wikipedia:Self-determination|self-determination theory]] of motivation, [[wikipedia:Flow_(psychology)|Csikzentmihalyi’s theory of flow]], and theories relating to stress, [[wikipedia:Arousal|arousal]] and [[wikipedia:Anxiety|anxiety]] will be discussed.  

=== Self-determination theory ===
Self-determination theory differentiates between [[Motivation and emotion/Book/2013/Intrinsic motivation|intrinsic motivation]], performing a task for its inherent value, and extrinsic motivation, in order to obtain some desired outcome (Ryan &amp; Deci&lt;sup&gt;a&lt;/sup&gt;, 2000; Ryan &amp; Deci&lt;sup&gt;b&lt;/sup&gt;, 2000). The theory describes [[Motivation and emotion/Book/2014/Amotivation|amotivation]] as the state of being unmotivated by a task, and further defines extrinsic motivation into types, varying by degrees of self-motivated behaviour, as shown in Figure 1. The theory takes the position that the ideal motivational state, the most productive and helpful for well-being, is the self-motivated extrinsic, or intrinsic motivated state, the theory assumes that this is the state all people naturally grow into given the right circumstances (Ryan &amp; Deci&lt;sup&gt;a&lt;/sup&gt;, 2000; Ryan &amp; Deci&lt;sup&gt;b&lt;/sup&gt;, 2000; Stone, Deci &amp; Ryan, 2009). To develop intrinsic motivation an individual must satisfy three innate psychological needs, [[wikipedia:Autonomy|autonomy]], the experience of being self-directed, competence, the belief that an individual has the ability to affect their circumstances, and relatedness, the experience of contentedness and support from others (Ryan &amp; Deci&lt;sup&gt;a&lt;/sup&gt;, 2000; Ryan &amp; Deci&lt;sup&gt;b&lt;/sup&gt;, 2000; Stone, Deci &amp; Ryan, 2009). Fulfilling these needs by making changes to surrounding contexts, aids intrinsic motivation, and hindering these needs damages intrinsic motivation, causing amotivation (Deci et al., 1994; Ryan &amp; Deci&lt;sup&gt;a&lt;/sup&gt;, 2000; Ryan &amp; Deci&lt;sup&gt;b&lt;/sup&gt;, 2000).  

According to self-determination theory, writer's block, would be primarily caused by hindrance, or unfulfillment of these needs. A writer may be blocked if they are not interested in the task, if the task has no appeal or meaning to them or if they are pressured by others, via deadlines, directives and uncontrollable circumstances, blocking may occur if the writer does not feel capable of completing the task, or if they are lacking a supportive, connected environment with others (Stone, Deci &amp; Ryan, 2009; Ryan &amp; Deci&lt;sup&gt;a&lt;/sup&gt;, 2000). A writer may improve intrinsic motivation by making changes to their environment, to allow for the fulfilment of these needs (Ryan &amp; Deci&lt;sup&gt;a&lt;/sup&gt;, 2000; Deci et al., 1994;). Working on something interesting or worthwhile, and removing constraints by others, being flexible with deadlines, topics and directives, would allow writers to work on their own volition, increasing autonomy. Getting helpful feedback from others, and increasing skills may help a writer's feeling of competence. Forming supportive connections with peers, colleagues or a writing group may aid a writer’s sense of relatedness.

=== Csikszentmihalyi’s flow theory ===
[[File:Challenge vs skill Commons.jpg|alt=Challenge and skill flow model|thumb|''Figure 2''. The challenge vs skill, Csikszentmihalyi’s theory of flow.]]

Csikszentmihalyi’s theory of flow is another theory mentioned as an explanation of writer’s block, {{gr}} Davidson (2014) attributing writer’s block to an inability to enter the state of flow caused by anxiety. Flow theory describes a state of focused attention and concentration that an individual can experience when undergoing a task that they find intrinsically enjoyable (Csikszentmihalyi, 1975; Fullagar, Knight &amp; Sovern, 2013). Described as a state of peak enjoyment, its main features are an intense concentration on the task, a distorted sense of time, and a clear sense of one’s goals (Csikszentmihalyi, 1975; Abuhamdeh &amp; Csikszentmihalyi, 2012). In order to achieve this state a key element is the balance of skill and challenge (Fullagar, Knight &amp; Sovern, 2013). In order to achieve a state of flow the activity must be challenging enough to stretch skills, as shown in Figure 2, if the task is too easy, [[wikipedia:Apathy|apathy]] and boredom are produced, but if the task is too difficult, one experiences anxiety (Fullagar, Knight &amp; Sovern, 2013; Csikszentmihalyi, 1975). Anxiety, being an opposite state to flow, it and other distractions, may prevent an individual from entering flow (Fullagar, Knight &amp; Sovern, 2013). A failure to enter flow could cause anxiety, or anxiety or distractions could prevent a writer from entering flow. According to the theory, one could help overcome writer’s block by adjusting task difficulty or increasing skills and reducing anxieties and distractions (Fullagar, Knight &amp; Sovern, 2013).  

=== Stress, anxiety and arousal theories ===
[[File:HebbianYerkesDodson.JPG|alt=Yerkes-Dodson curve|thumb|''Figure 3''. The Yerkes-Dodson curve, showing the relationship between arousal and performance.]]

Other theories which have been put forth as explanations for writer's block are theories surrounding the high intensity, affective and arousal states of [[Motivation and emotion/Book/2014/Stress on motivation|stress]] and anxiety (Huston, 1998; Bane, 2010; Ahmed, 2019). The concepts of evaluative anxiety and writer’s anxiety, fear surrounding negative evaluation, are often linked to writer’s block (Peterson, 1987; Bastug, Ertem &amp; Keskin, 2016; Rose, 1984). Theories such as the distraction arousal theory, and the distraction conflict theory, put forth that states like anxiety and stress decrease creativity and productivity by using up valuable cognitive resources that would otherwise have been devoted to the task (Teichner, Arees, Reilly, 1963; Baron, 1986). Similar concepts, relating to higher arousal states like stress, are the inverted U theory and the [[wikipedia:Yerkes–Dodson_law|Yerkes-Dodson law]], which suppose that some level of stress increases performance, to an optimum level, but any stress beyond that level decreases performance, as shown in Figure 3 (Muse, Harris &amp; Feild, 2003; Teigen, 1994). Though these theories have been criticised, with some suggesting bias (Muse, Harris &amp; Feild, 2003), and others claiming a lack of empirical validity (Corbett, 2015), these theories have received support (Muse, Harris &amp; Feild, 2003; Teigen, 1994).  

Byron, Khazanchi &amp; Nazarian in 2010 suggested that the effect of stress on an individual, depends on the type and the amount of stress. High levels of stress and stress events that the individual had little or no control over, such as deadlines, or harassment, decrease performance, where as stress events that can be seen as challenges, like work evaluations can improve productivity in low amounts. This concept is similar to the self-determination theory, where events that reduce autonomy and competence lead to reductions in motivation and performance (Stone, Deci &amp; Ryan, 2009; Ryan &amp; Deci&lt;sup&gt;a,&lt;/sup&gt; 2000). According to these theories, anxiety, stress and other such distractions would be the prime causes of writer's block, and managing those intense states and removing stressors and distractions would be the primary methods of overcoming such a block. 

{{RoundBoxTop|theme=2}}
;Example
Sally has a research essay due for class in a number of weeks, but she feels unmotivated and uninterested in the task. She’s tried to start writing but finds her unable to put words on the page. It’s a topic that Sally didn’t choose and doesn’t care much about, since she doesn’t find it relevant to her own life. On top of that the deadline is getting closer and she’s feeling anxious about her grades. Sally lives alone, as has fallen out of touch with friends due to studying, and has no support group.
Sally has writer’s block, most likely caused by amotivation and anxiety. To overcome writer’s block Sally could try the following:
*Find some aspect of the topic that she finds interesting or relevant to herself, or worthwhile to discuss and focus on that while writing.
*Take a small break to relieve anxiety and plan her approach through clear reasonable goals.
*Get in contact with friends and peers to discuss ideas for essay and form a supportive network.
{{RoundBoxBottom}}

==Writer's block in research==
Throughout the literature, there are many reported causes, and factors contributing to writer's block, and a majority of researchers identify multiple causes including; procrastination, stress, [[wikipedia:Perfectionism_(psychology)|perfectionism]], rigid rules and evaluation anxiety. (Ahmed, 2019; Boise, 1985; Rose, 1984). Researchers have suggested that writer’s block may be a multi-dimensional construct (Boise, 1985), with some suggesting multiple types of writer's block (Huston, 1998; Peterson, 1987), each existing at different levels or through different causes. However some causes of writer's block have been identified as more common than others, such as stress, anxiety and depression, as well as motivational causes, namely the loss of intrinsic motivation (Ahmed, 2019; Bastug, Ertem &amp; Keskin, 2016). Other frequently reported causes of writer’s block include cognitive causes such as possessing rigid rules and perfectionism, and other behavioural factors like procrastination (Rose, 1980; Boice, 1985).

=== The importance of environments: Connections to self-determination theory and stress/anxiety theories ===
In a study exploring the causes of writer's block on prospective teachers, Bastug, Ertem &amp; Keskin, (2016) found that the environments and context that teachers were writing in had a large impact on blocking. Limitations on topics, lack of time to write, anxiety of being assessed and controlled, fear of criticism, lack of information or poor instruction on how to write as well as the negativity in the environment were found to be among the major causes of writer's block. The study suggests that writer's block may occur more often when writing less interesting, academic or instructive texts, as opposed to texts the writer feels intrinsically interested in. This connects with self-determination theory, supporting the importance of the environment and intrinsic motivation on writer's block, and the need for choice, contentedness and feelings of competence in motivation. It also supports the theories surrounding flow and stress, demonstrating the effect of anxiety and stressful events on writer's block. In their suggestions for combating writer’s block Bastug, Ertem &amp; Keskin, (2016) reinforced the importance of the context or space that the writing happens in, suggesting that writers choose a space that they find comfortable. The results of this study, which uses adult prospective teachers, cannot necessarily be generalised to other populations, and other types of writing. The research also qualitative and not quantitative methods, so though common causes were identified, the study could not determine which had the most effect. 

=== Stress and anticipatory anxiety on writer's block ===
Several other studies have suggested the importance of stress and anxiety on writing, including Bane (2010) who supports a distraction-arousal view of stress, suggesting that a stressed state inhibits cognitive processing, affecting performance, and Huston (1998), who considers writer's block to be caused by anticipatory anxiety of writing, leading to stress. In their study Bastug, Ertem &amp; Keskin, (2016) suggested that anxiety and writer's block were connected processes that feed off each other. Various studies have suggested similar ideas with many implying anxiety and writing apprehension play an important factor in many types of writing blocks (Boice, 1985; Rose, 1984; Peterson, 1987).  

=== Rigid rules, and inflexible plans: Faulty cognitions in writer’s block ===
Other studies on writer's block have focused on a cognitive perspective (Rose, 1980; Boice, 1985; Rose, 1984), but even those studies propose that writer's block has several causes, including cognition, and emotional causes (Rose, 1980). Rose (1980), through a case study examining a group of blocked and unblocked student writers, found that those who were blocked possessed rigid and inflexible rules about the process of writing, compared to those students who weren’t blocked, claiming that these rules impeded the problem solving process of writing, which requires a flexible approach. The treatment he applied to these cases of writer's block involved altering the students cognitive rules about writing allowing them to be more flexible. This approach was found to be successful in most, but not all cases. Rose suggested that those other cases may have more deeply rooted emotional causes of writer's block. Rose’s studies, were conducted as case observations of a small number of academic students, and the generalisability is limited to that group. As well as cognition, it has also been found that [[wikipedia:Attitude_(psychology)|attitudes]] and dispositions towards writing itself, had a major effect on writer's block (Bastug, 2015). This gives weight to the idea that writer’s block is not a simple concept, but that there may be many different varieties. 

=== The multi-faceted approach: Types and layers of writer's block ===
A similar approach has been adopted by others, suggesting that there are often layers to writer’s blocks, varying in severity. Huston, 1998 supposes three levels, with the most mild being caused by cognition factors, such as rules or perfectionism, and the deepest blocks requiring professional counselling. While others suggests that writer's blocks vary more broadly, or by type, (Smeets, 2008). In a 1985 study Boice discovered seven types of faulty cognitions that contributed to writer's block. The most significant being procrastination, perfectionism, evaluation anxiety and [[wikipedia:Dysphoria|dysphoria]]. Rigid rules and planning during the writing process was a contributor, but contrary to other studies (Rose, 1980; 1984) it wasn’t a major cause of writer's block. Factors such as procrastination, perfectionism, and anxiety have also been identified as causes by other research (Boise, 1985; Peterson, 1987).

=== The four causes of writer's block ===
Ahmed, in her study of professional writers in 2019, identified four categories of causes; affective causes, such as stress, anxiety and depression, motivational causes, cognitive causes, including perfectionism and behavioural causes, namely procrastination, bad writing habits and interruptions from others. She identified affective causes such as general anxiety, life stress and depression as the most common causes of writer's block, followed by amotivation and evaluation anxiety. Cognitive and behavioural causes, were not as common among professional writers, as in previously studies frequently involving less intrinsic, academic writing (Rose, 1980; Boice, 1985; Rose, 1984). This not only gives support to the inverted U theory, Yerkes-Dodson law, Csikzenymihalyi’s{{sp}} flow, and distraction arousal/conflict theories, with the suggestion that stress and anxiety impede productivity, this also supports the self-determination theory. In this study, Ahmed identified the most common, and most effective strategies used to overcome writer's block. These were taking a break from writing, working on a different project, ignoring the block, and discussing ideas with others. Another strategy was going for a walk, though this was not common, it was 100% effective (Ahmed, 2019). In comparison to some other studies, the participants in Ahmed’s study were those who had much interest and experience in writing, which are factors in writer’s block, and affect results, as well as generalisability, however it provides a good contrast to most other studies. 

== Combining research and theory ==
Writer's block may be caused by a number of factors and several types of blocks may exist (Rose, 1984; Ahmed, 2019; Huston, 1998). Research has identified that anxiety and stress related causes, and motivational causes are among the most common (Bastug, Ertem &amp; Keskin, 2016; Ahmed, 2019). The nature of the writing task, the writer’s attitude, experience and the environment, are major influences (Bastug, 2015; Bastug, Ertem &amp; Keskin, 2016). The importance of context and motivational causes, show that much of this research and theory are connected. The distraction-arousal theory, distraction-conflict theory, Inverted U theory, Yerkes-Dodson law and Csikzentmihalyi’s flow all propose that high levels of internal arousal, such as stress and anxiety are the underlying causes of writer’s block (Fullagar, Knight &amp; Sovern, 2013; Muse, Harris &amp; Feild, 2003) which has been supported by research. The anxieties and stresses themselves relate to self-determination theory, as a majority of the described stressors in research are hindering competence and the need for autonomy (Byron, Khazanchi &amp; Nazarian, 2010; Stone, Deci &amp; Ryan, 2009). 

Procrastination, perfectionism and inflexible, and rigid rules, do not fit with many of these theories, and though they are not among the most common (Ahmed, 2019), they are still reported causes of writer’s block (Rose, 1984; Ahmed, 2019). Suggesting that there are multiple causes, belonging to different dimensions of writer's block{{gr}}. The cause of a block likely depends on the writer, the environment and the task itself.

== Overcoming writer's block ==
Since there are multiple causes of writer’s block, the best way to overcome a block is to choose a method suitable for the cause (Smeets, 2008; Ahmed, 2019). There are several methods of overcoming writer's block according to literature. Suggestions from theory primarily involve altering the environment so the needs of autonomy, competence and relatedness may be met, as well as reducing intense arousal states of stress and anxiety (Stone, Deci &amp; Ryan, 2009; Fullagar, Knight &amp; Sovern, 2013). There is some overlap in these suggestions with methods tested in research, giving further support for these theories of writer’s block.  

=== Stress, arousal, anxiety and other distractions ===
If the block is primarily caused by distressing, intense arousal states such as stress and anxiety, impeding creativity or interrupting flow, managing or removing these distractions may improve the block and increase productivity (Byron, Khazanchi &amp; Nazarian, 2010). As suggested by Bastug, Ertem &amp; Keskin (2016) and others (Bane, 2010; Ahmed, 2019), helping to manage arousal, especially stress and anxiety by altering the environment, or changing locations, making the writer more comfortable were among the most common and the most effective solutions for all causes of blocks.

=== Improving intrinsic motivation, autonomy, competence and relatedness. ===
The theories suggest that altering the environment may also improve intrinsic motivation for writing (Ryan &amp; Deci, 2000&lt;sup&gt;b&lt;/sup&gt;; Stone, Deci &amp; Ryan, 2009) and offered such suggestions as, working on a topic that is interesting or worthwhile, exercising freedom in writing choices, while, where possible, seeking to remove or adjust constraints such as deadlines, and directives from others, increasing skills to improve feelings of competence, and getting helpful feedback and information from others, and forming supportive peer networks or joining a writer's groups to feel a sense of relatedness with others. Ahmed (2019), describes some similar suggestions in her study of professional writers, finding these to be the most successful methods of overcoming writer's block, including; taking a break from writing, working on a different project and discussing ideas with others to promote creativity. 

=== Rigid rules, perfectionism, procrastination and other bad writing habits ===
Other suggestions for overcoming writer’s block described in research include, correcting mental attitudes about writing, rigid rules, unrealistic expectations and perfectionism. These methods are primarily useful for those who posses cognitive based blocks (Rose, 1980; Bastug, 2015; Huston, 1998). Encouraging positive behaviours and habits, like routine and structure (Davidson, 2014; Wallace, 1977). Using cognitive or behavioural therapy for more persistent blocks (Smeets, 2008; Huston, 1998), or simply persevering and writing anyway (Ahmed, 2019){{gr}}. 

==Conclusion==
There are many reported causes and factors that contribute to writer’s block. Some of the most common causes have been identified as affective and motivational causes, other causes such as cognitions, procrastination, perfectionism and other behavioural factors are also shown (Ahmed, 2019; Rose, 1984; Boice, 1985). A first step in overcoming writer's block should be to attempt to identify the cause of the block (Peterson, 1977; Smeets, 2008). There are methods of overcoming that may be effective for a variety of causes, such as writing about something interesting, talking with others about ideas, taking a break from writing and choosing to write in a space that is comfortable (Ahmed, 2019; Bastug, Ertem &amp; Keskin, 2016).  

For causes related to stress and anxiety, removing stressors and finding ways to relax would be a primary method of overcoming the block. For lack of motivation, due to an uninteresting topic, constrictive conditions that hinder autonomy, a lack of competence in ability to do the work, or lack of a supportive network (Ryan and Deci, 2000&lt;sup&gt;a&lt;/sup&gt;; Stone, Deci &amp; Ryan, 2009), adjusting the environment to allow for the fulfilment of these needs would be the primary method of overcoming writer's block. Joining a writing group, exercising flexibility with restrictions, such as deadlines, or topics, increasing skills or getting helpful feedback from others and adjusting the difficulty of tasks to improve feelings of competence. For writer's blocks that are based on cognitive causes, methods such as making strict rules more flexible, or creating better writing behaviours may improve productivity. 

==See also==
[[wikipedia:Affect_(psychology)|Affect]] (Wikipedia)

[[Motivation and emotion/Book/2016/Artistic creation motivation|Artistic creation motivation]] (Book chapter, 2016)

[[Motivation and emotion/Book/2011/Creativity|Creativity]] (Book chapter, 2011)

[[Motivation and emotion/Book/2014/Depression and motivation|Depression and motivation]] (Book chapter, 2014)

[[wikipedia:Flow_(psychology)|Flow]] (Wikipedia)

[[Motivation and emotion/Book/2013/Intrinsic motivation|Intrinsic motivation]] (Book chapter, 2013)

[[Motivation and emotion/Book/2011/Procrastination|Procrastination]] (Book chapter, 2011)

[[wikipedia:Writer's_block|Writer's block]] (Wikipedia)

[[wikipedia:Yerkes–Dodson_law|Yerkes-Dodson law]] (Wikipedia)

==References==
{{Hanging indent|1=

Abuhamdeh, S., &amp; Csikszentmihalyi, M. (2012). The importance of challenge for the enjoyment of the intrinsically motivated, goal-directed activities. ''Personality and Social Psychology Bulletin, 38''(3), 317-330. https://doi.org/10.1177/0146167211427147 

Ahmed, S. J. (2019). ''An analysis of writer's block: Causes, characteristics, and solutions.'' [Graduate Dissertation, University of North Florida]. UNF Graduate Theses and Dissertations. https://digitalcommons.unf.edu/etd/903

Bane, R. (2010). The writer’s brain: What neurology tells us about teaching creative writing. ''Creative Writing: Teaching Theory &amp; Practice, 2''(1), 41-50.

Baron, R. S. (1986). Distraction-conflict theory: progress and problems. ''Advances in Experimental Social Psychology, 19'', 1-40. https://doi.org/10.1016/S0065-2601(08)60211-7 

Bastug, M. (2015). Effects of primary school fourth-grade students' attitude, disposition and writer's block on writing success. ''Education and Science, 40''(180), 73-88. https://doi.org/10.15390/EB.2015.4279

Bastug, M., Ertem, I. S., &amp; Keskin, H. K. (2017). A phenomenological research study on writer’s block: Causes, processes, and results. ''Education + Training, 59''(6), 605-618. https://doi.org/10.1108/ET-11-2016-0169

Boice, R. (1985). Cognitive components of blocking. ''Written Communications, 2''(1), 91-104. https://doi.org/10.1177/0741088385002001006

Byron, K.,  Khazanchi, S., &amp; Nazarian, D. (2010). The relationship between stressors and creativity: A meta-analysis examining competing theoretical models. ''Journal of Applied Psychology, 95''(1), 201-212. https://doi.org/10.1037/a0017868 

Corbett, M. (2015) From law to folklore: work stress and the Yerkes-Dodson Law. ''Journal of Managerial Psychology, 30''(6), 741-752. https://doi.org/10.1108/JMP-03-2013-0085 

Csikszentmihalyi, M. (1975) ''Beyond boredom and anxiety''. Jossey-Bass. 

Davidson, R. (2014). On writer’s block. ''Overland, 261''(1), 25-32.

Deci, E. L., Eghrarl, H., Patrick, B. C., &amp; Leone, D. R. (1994). Facilitating internalisation: The self-determination theory perspective. ''Journal of Personality, 62''(1), 119-142. 

Fullagar, C. J., Knight, P. A., &amp; Sovern, H. S. (2013) Challenge/skill balance, flow, and performance anxiety. ''Applied Psychology: An International Review, 62''(2), 236-259. https://doi.org/10.1111/j.1464-0597.2012.00494.x

Huston, P. (1998). Resolving writer's block. ''Canadian Family Physician, 44''(1), 92-97. 

Muse, L. A., Harris, S. G., &amp; Feild, H. S. (2003) Has the inverted-U theory of stress and job performance had a fair test? ''Human Performance, 16''(4), 349-364. https://doi.org/10.1207/S15327043HUP1604_2 

Peterson, K. E. (1987) ''Relationships among measures of writer’s block, writing anxiety, and procrastination''. [unpublished doctoral dissertation]. Ohio State University.

Rose, M. (1980). Rigid rules, inflexible plans, and the stifling of language: A cognitivist analysis of writer's block. ''College Composition and Communication, 31''(4), 389-401. http://www.jstor.com/stable/356589

Rose, M. (1984). ''Writer’s block: The cognitive dimension''. Studies in writing &amp; rhetoric. Paper presented at the Composition Communication, Urbana, IL.

Ryan, M. R., &amp; Deci, E. La. (2000). Intrinsic and extrinsic motivations: Classical definitions and new directions. ''Contemporary Educational Psychology, 25'', 54-67. https://doi.org/10.1006/ceps.1999.1020 

Ryan, M. R., &amp; Deci, E. Lb. (2000). Self-determination theory and the facilitation of intrinsic motivation, self-development, and well-being. ''American Psychologist, 55''(1), 68-78. https://doi.org/10.1037110003-066X.55.1.68 

Smeets, S. (2008). Writer’s Block as an Instrument for Remaining in Paradise. ''Communication in Science'', Zeitschrift schreiben, 1-8.

Stone, D. S., Deci, E. L., &amp; Ryan, R. M. (2009). Beyond talk: creating autonomous motivation through self-determination theory. ''Journal of General Management, 34''(3), 75-91. 

Teichner, W. H., Arees, E., &amp; Reilly, R. (1963). Noise and human performance, a psychophysiological approach. ''Ergonomics, 6''(1), 83-97. https://doi.org/10.1080/00140136308930678 

Teigen, K. H. (1994). Yerkes-Dodson: A law for all seasons. ''Theory and Psychology, 4''(4), 525-547. 

Wallace, I. (1977). Self-control techniques of famous novelists. ''Journal of Applied Behavioural Analysis, 10''(3), 515-525. https://doi.org/10.1901/jaba.1977.10-515
}}

==External links==
[https://www.helpguide.org/articles/depression/coping-with-depression.htm Coping with depression] (helpguide.org)

[https://www.helpguide.org/articles/stress/quick-stress-relief.htm Quick stress relief] (helpguide.org)

[https://www.writersdigest.com/be-inspired/top-websites-for-writers-10-online-writing-communities 10 Online writing communities] (writersdigest.com)

[https://adaa.org/tips Tips to manage anxiety and stress] (adaa.org)

[[Category:{{#titleparts:{{PAGENAME}}|3}}]]
[[Category:Motivation and emotion/Book/Creativity]]
[[Category:Motivation and emotion/Book/Motivation]]
[[Category:Motivation and emotion/Book/Procrastination]]
[[Category:Motivation and emotion/Book/Writing]]</text>
      <sha1>iv1wf521zk1cqr6jw4h8yg4069iva51</sha1>
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  <page>
    <title>Moving Average/Exponential</title>
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        <ip>114.125.198.53</ip>
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      <comment>Ema</comment>
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      <text bytes="7882" sha1="2eiuix7146snt3g3yugnji32spnayev" xml:space="preserve">==Exponential moving average==
{{further|Wikipedia:EWMA chart|Wikipedia:Exponential smoothing}}
[[Image:Exponential moving average weights N=15.png|thumb|right|EMA weights&amp;nbsp;''N''&amp;nbsp;=&amp;nbsp;200]]

An '''exponential moving average (EMA)''', also known as an '''exponentially weighted moving average (EWMA)''',&lt;ref&gt;http://lorien.ncl.ac.uk/ming/filter/filewma.htm&lt;/ref&gt; is a type of [[w:de:infinite impulse response|infinite impulse response]] filter that applies weighting factors which decrease [[w:de:exponentiation|exponentially]]. The weighting for each older [[w:de:data|datum]] decreases exponentially, never reaching zero. The graph at right shows an example of the weight decrease.

The EMA for a series &lt;math&gt;C:=(C(0),C(1),\ldots)&lt;/math&gt; of collected data with a set of dates &lt;math&gt;T:=\N_0&lt;/math&gt;, 
where &lt;math&gt;C(t)&lt;/math&gt; is the collected data at time index &lt;math&gt;t\in T:=\N_0&lt;/math&gt;. 
* First of all we have to defined a value &lt;math&gt;\alpha&lt;/math&gt; with &lt;math&gt;0 &lt; \alpha  &lt; 1&lt;/math&gt;, that represents the degree of weighting decrease as a constant smoothing factor between 0 and 1. A lower ''α'' discounts older observations faster.
* The weights are defined by 
:&lt;math&gt;w_t  = (1-\alpha)\cdot \alpha^t&lt;/math&gt; for all &lt;math&gt;t \in T:=\N_0&lt;/math&gt; with &lt;math&gt;\sum_{t=0}^{\infty} w_t = 1&lt;/math&gt; ([[w:de:geometric series|geometric series]]).
* The sum of weights from 0 to the time index &lt;math&gt;t \in T&lt;/math&gt; is defined by:
:&lt;math&gt;s(t)  = \sum_{k=0}^{t} w_k = \sum_{k=0}^{t} (1-\alpha)\cdot \alpha^k =  (1-\alpha)\cdot \underbrace{\sum_{k=0}^{t} \alpha^k}_{=\frac{1-\alpha^{t+1}}{1-\alpha}} = (1-\alpha)\cdot \frac{1-\alpha^{t+1}}{1-\alpha} = 1-\alpha^{t+1}&lt;/math&gt; 
* The discrete probability mass function is defined by:
:&lt;math&gt;
  p_t(x)=\begin{cases}
  \frac{w_{t-x}}{s(t)} = \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}}&amp; \mathrm{for}\ 0 \le x \le t, \\[8pt]
  0 &amp; \mathrm{for}\ x&lt;0\ \mathrm{or}\ x&gt;t
  \end{cases} 
&lt;/math&gt;
The definition above creates the exponential moving average ''EMA'' with discrete probability mass function &lt;math&gt;p_t&lt;/math&gt; by 
: &lt;math&gt;EMA(t):= \sum_{k \in T} p_t(k) \cdot C(k) = \sum_{k=0}^{t} p_t(k) \cdot C(k) =  \sum_{x=0}^{t} \frac{w_{t-k}}{s(t)} \cdot C(k) =  \sum_{k=0}^{t} \frac{(1-\alpha)\cdot \alpha^{t-k}}{1-\alpha^{t+1}} \cdot C(k)&lt;/math&gt;
The &lt;math&gt;EMA&lt;/math&gt; at time index &lt;math&gt;t \in T:=\N_0&lt;/math&gt; may be calculated recursively:
:&lt;math&gt;EMA(0) := C(0)&lt;/math&gt; and
:&lt;math&gt; EMA(t+1) := \frac{1-\alpha}{1-\alpha^{t+2}} \cdot C(t+1) + \alpha \cdot \frac{1-\alpha^{t+1}}{1-\alpha^{t+2}} \cdot EMA(t)&lt;/math&gt; for all &lt;math&gt;t \in T= \N_0=\{0,1,2,3,...\}&lt;/math&gt;
Where:
* The coefficient &lt;math&gt;\alpha&lt;/math&gt; represents the degree of weighting decrease from &lt;math&gt;EMA(t)&lt;/math&gt; to &lt;math&gt;EMA(t+1)&lt;/math&gt;. This implements the aging of data from &lt;math&gt;t&lt;/math&gt; to time index &lt;math&gt;t+1&lt;/math&gt;.
* the fraction &lt;math&gt;\frac{1-\alpha^{t+1}}{1-\alpha^{t+2}}&lt;/math&gt; adjusts the denominator &lt;math&gt;EMA(t)&lt;/math&gt; for &lt;math&gt;EMA(t+1)&lt;/math&gt;.
* the coefficient &lt;math&gt;\frac{1-\alpha}{1-\alpha^{t+2}} = p_{t+1}(t+1) = \frac{w_{(t+1)-(t+1)}}{s(t+1)}&lt;/math&gt; in the EMA at time index ''t+1''.

=== Initialization of EMA and Elimination of MA Impact form old data===
&lt;math&gt;EMA(0)&lt;/math&gt; may be initialized in a number of different ways, most commonly by setting &lt;math&gt;EMA(0)&lt;/math&gt; to the first collected data &lt;math&gt;C(0)&lt;/math&gt; at time index 0 as shown above, though other techniques exist, such as starting the calculation of the moving average after the first 4 or 5 observations. Furthermore only a most recent subset of collected data before the time index &lt;math&gt;t&lt;/math&gt; from the total history of collected date might be used for the &lt;math&gt;EMA(t)&lt;/math&gt;. 
The discrete probability mass function puts weights on the most recent &lt;math&gt;m+1&lt;/math&gt; values of the collected data by:
:&lt;math id=&quot;Ema&quot; qid=&quot;Ema&quot;&gt;
  p_t(x)=\begin{cases}
  \frac{w_{t-x}}{s(t)} = \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}}&amp; \mathrm{for}\ 0 \le x \le t \ \mathrm{ and }\ t \le m \\[8pt]
  \frac{w_{t-x}}{s(t)-s(t-m)} = 
  \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}-(1-\alpha^{t-m+1})} 
  =
  \frac{(1-\alpha)\cdot \alpha^{t-x}}{\alpha^{t-m+1}-\alpha^{t+1}} 
          &amp; \mathrm{for}\ (t-m) \le x \le t\ \mathrm{ and }\ t &gt;  m, \\[8pt]
  0 &amp; \mathrm{ for }\ x&lt;0\ \mathrm{or}\ x&gt;t
  \end{cases} 119000000
&lt;/math&gt;
The limitations to the most recent &lt;math&gt;m+1&lt;/math&gt; values of the collected data eliminates the impact of very ''old'' data on the resultant moving average completely. By choosing a small &lt;math&gt;\alpha&lt;/math&gt; old data is less important than recent data and discounts older observations faster, but even the oldest data has a impact on the calculation of &lt;math&gt;EMA(t)&lt;/math&gt; at time index &lt;math&gt;t&lt;/math&gt;.

Tne initialiation of &lt;math&gt;EMA(t)&lt;/math&gt; could incorporate something about values prior to the available data, i.e. history before &lt;math&gt;t=0&lt;/math&gt;. Tne initialiation could introduce an error in the &lt;math&gt;EMA(t)&lt;/math&gt;. In view of this the early results should be regarded as unreliable until the iterations have had time to [[w:de:Convergent series|converge]]. This is sometimes called a 'spin-up' interval. 

This formulation of EMA is designed as an application of an [[w:de:expected value|expected value]], which is a standard definition in [[w:de:probability theory|probability theory]]. 

According to Hunter (1986).&lt;ref&gt;[http://www.itl.nist.gov/div898/handbook/pmc/section4/pmc431.htm NIST/SEMATECH e-Handbook of Statistical Methods: Single Exponential Smoothing] at the [[w:de:National Institute of Standards and Technology|National Institute of Standards and Technology]]&lt;/ref&gt; this can be written as an repeated application of the recursive formula for different times &lt;math&gt;t&lt;/math&gt; without standardisation, i.e.
:&lt;math&gt;\sum_{x\in T} p_t(x) = 1&lt;/math&gt;.
An alternate approach defined by Roberts (1959)&lt;ref&gt;[http://www.itl.nist.gov/div898/handbook/pmc/section3/pmc324.htm NIST/SEMATECH e-Handbook of Statistical Methods: EWMA Control Charts] at the [[w:de:National Institute of Standards and Technology|National Institute of Standards and Technology]]&lt;/ref&gt; is missing the standardisation of the probability distribution too, while the basic principle of exponential moving average remains the same.

=== Application to measuring computer performance===
Some computer performance metrics, e.g. the average process queue length, or the average CPU utilization, use a form of exponential moving average with the recursive definition.

:&lt;math&gt;S_n = \alpha(t_n-t_{n-1}) \times Y_n + (1-\alpha(t_n-t_{n-1})) \times
S_{n-1}.&lt;/math&gt;

Here {{mvar|&amp;alpha;}} is defined as a function of time between two readings. An example of a coefficient giving bigger weight to the current reading, and smaller weight to the older readings is

:&lt;math&gt;\alpha(t_{n}-t_{n-1}) = 1-\exp\left({-{ {t_{n}-t_{n-1}} \over {W \times 60} }} \right)&lt;/math&gt;

where {{math|exp()}} is the [[w:de:exponential function|exponential function]], time for readings ''t''&lt;sub&gt;''n''&lt;/sub&gt; is expressed in seconds, and {{mvar|W}} is the period of time in minutes over which the reading is said to be averaged (the mean lifetime of each reading in the average). Given the above definition of {{mvar|&amp;alpha;}}, the moving average can be expressed as

:&lt;math&gt;S_n = \left(1-\exp\left(-{ {t_n - t_{n-1}} \over {W \times 60}}\right)\right) \times Y_n +
\exp\left(-{{t_n-t_{n-1}} \over {W \times 60}}\right) \times S_{n-1}&lt;/math&gt;

For example, a 15-minute average ''L'' of a process queue length ''Q'', measured every 5 seconds (time difference is 5 seconds), is computed as

:&lt;math&gt;
\begin{align}
L_n &amp;= \left(1-\exp\left({-{5 \over {15 \times 60}}}\right)\right) \times Q_n + e^{-{5 \over {15 \times 60}}}
\times L_{n-1} \\[6pt]
&amp; = \left(1-\exp\left({-{1 \over {180}}}\right)\right) \times Q_n + e^{-1/180} \times L_{n-1} \\[6pt]
&amp; = Q_n + e^{-1/180} \times ( L_{n-1} - Q_n )
\end{align}
&lt;/math&gt;</text>
      <sha1>2eiuix7146snt3g3yugnji32spnayev</sha1>
    </revision>
    <revision>
      <id>2718396</id>
      <parentid>2718395</parentid>
      <timestamp>2025-06-12T16:52:02Z</timestamp>
      <contributor>
        <ip>114.125.198.53</ip>
      </contributor>
      <comment>Ema</comment>
      <origin>2718396</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="7853" sha1="ftf5u5oggojyfpr3g4x4rsenvx801rz" xml:space="preserve">==Exponential moving average==
{{further|Wikipedia:EWMA chart|Wikipedia:Exponential smoothing}}
[[Image:Exponential moving average weights N=15.png|thumb|right|EMA weights&amp;nbsp;''N''&amp;nbsp;=&amp;nbsp;200]]

An '''exponential moving average (EMA)''', also known as an '''exponentially weighted moving average (EWMA)''',&lt;ref&gt;http://lorien.ncl.ac.uk/ming/filter/filewma.htm&lt;/ref&gt; is a type of [[w:de:infinite impulse response|infinite impulse response]] filter that applies weighting factors which decrease [[w:de:exponentiation|exponentially]]. The weighting for each older [[w:de:data|datum]] decreases exponentially, never reaching zero. The graph at right shows an example of the weight decrease.

The EMA for a series &lt;math&gt;C:=(C(0),C(1),\ldots)&lt;/math&gt; of collected data with a set of dates &lt;math&gt;T:=\N_0&lt;/math&gt;, 
where &lt;math&gt;C(t)&lt;/math&gt; is the collected data at time index &lt;math&gt;t\in T:=\N_0&lt;/math&gt;. 
* First of all we have to defined a value &lt;math&gt;\alpha&lt;/math&gt; with &lt;math&gt;0 &lt; \alpha  &lt; 1&lt;/math&gt;, that represents the degree of weighting decrease as a constant smoothing factor between 0 and 1. A lower ''α'' discounts older observations faster.
* The weights are defined by 
:&lt;math&gt;w_t  = (1-\alpha)\cdot \alpha^t&lt;/math&gt; for all &lt;math&gt;t \in T:=\N_0&lt;/math&gt; with &lt;math&gt;\sum_{t=0}^{\infty} w_t = 1&lt;/math&gt; ([[w:de:geometric series|geometric series]]).
* The sum of weights from 0 to the time index &lt;math&gt;t \in T&lt;/math&gt; is defined by:
:&lt;math&gt;s(t)  = \sum_{k=0}^{t} w_k = \sum_{k=0}^{t} (1-\alpha)\cdot \alpha^k =  (1-\alpha)\cdot \underbrace{\sum_{k=0}^{t} \alpha^k}_{=\frac{1-\alpha^{t+1}}{1-\alpha}} = (1-\alpha)\cdot \frac{1-\alpha^{t+1}}{1-\alpha} = 1-\alpha^{t+1}&lt;/math&gt; 
* The discrete probability mass function is defined by:
:&lt;math&gt;
  p_t(x)=\begin{cases}
  \frac{w_{t-x}}{s(t)} = \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}}&amp; \mathrm{for}\ 0 \le x \le t, \\[8pt]
  0 &amp; \mathrm{for}\ x&lt;0\ \mathrm{or}\ x&gt;t
  \end{cases} 
&lt;/math&gt;
The definition above creates the exponential moving average ''EMA'' with discrete probability mass function &lt;math&gt;p_t&lt;/math&gt; by 
: &lt;math&gt;EMA(t):= \sum_{k \in T} p_t(k) \cdot C(k) = \sum_{k=0}^{t} p_t(k) \cdot C(k) =  \sum_{x=0}^{t} \frac{w_{t-k}}{s(t)} \cdot C(k) =  \sum_{k=0}^{t} \frac{(1-\alpha)\cdot \alpha^{t-k}}{1-\alpha^{t+1}} \cdot C(k)&lt;/math&gt;
The &lt;math&gt;EMA&lt;/math&gt; at time index &lt;math&gt;t \in T:=\N_0&lt;/math&gt; may be calculated recursively:
:&lt;math&gt;EMA(0) := C(0)&lt;/math&gt; and
:&lt;math&gt; EMA(t+1) := \frac{1-\alpha}{1-\alpha^{t+2}} \cdot C(t+1) + \alpha \cdot \frac{1-\alpha^{t+1}}{1-\alpha^{t+2}} \cdot EMA(t)&lt;/math&gt; for all &lt;math&gt;t \in T= \N_0=\{0,1,2,3,...\}&lt;/math&gt;
Where:
* The coefficient &lt;math&gt;\alpha&lt;/math&gt; represents the degree of weighting decrease from &lt;math&gt;EMA(t)&lt;/math&gt; to &lt;math&gt;EMA(t+1)&lt;/math&gt;. This implements the aging of data from &lt;math&gt;t&lt;/math&gt; to time index &lt;math&gt;t+1&lt;/math&gt;.
* the fraction &lt;math&gt;\frac{1-\alpha^{t+1}}{1-\alpha^{t+2}}&lt;/math&gt; adjusts the denominator &lt;math&gt;EMA(t)&lt;/math&gt; for &lt;math&gt;EMA(t+1)&lt;/math&gt;.
* the coefficient &lt;math&gt;\frac{1-\alpha}{1-\alpha^{t+2}} = p_{t+1}(t+1) = \frac{w_{(t+1)-(t+1)}}{s(t+1)}&lt;/math&gt; in the EMA at time index ''t+1''.

=== Initialization of EMA and Elimination of MA Impact form old data===
&lt;math&gt;EMA(0)&lt;/math&gt; may be initialized in a number of different ways, most commonly by setting &lt;math&gt;EMA(0)&lt;/math&gt; to the first collected data &lt;math&gt;C(0)&lt;/math&gt; at time index 0 as shown above, though other techniques exist, such as starting the calculation of the moving average after the first 4 or 5 observations. Furthermore only a most recent subset of collected data before the time index &lt;math&gt;t&lt;/math&gt; from the total history of collected date might be used for the &lt;math&gt;EMA(t)&lt;/math&gt;. 
The discrete probability mass function puts weights on the most recent &lt;math&gt;m+1&lt;/math&gt; values of the collected data by:
:&lt;math id=&quot;Ema&quot; qid=&quot;Ema&quot;&gt;
  p_t(x)=\begin{cases}
  \frac{w_{t-x}}{s(t)} = \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}}&amp; \mathrm{for}\ 0 \le x \le t \ \mathrm{ and }\ t \le m \\[8pt]
  \frac{w_{t-x}}{s(t)-s(t-m)} = 
  \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}-(1-\alpha^{t-m+1})} 
  =
  \frac{(1-\alpha)\cdot \alpha^{t-x}}{\alpha^{t-m+1}-\alpha^{t+1}} 
          &amp; \mathrm{for}\ (t-m) \le x \le t\ \mathrm{ and }\ t &gt;  m, \\[8pt]
  0 &amp; \mathrm{ for }\ x&lt;0\ \mathrm{or}\ x&gt;t
  \end{cases} 119000000
&lt;/math&gt;
The limitations to the most recent &lt;math&gt;m+1&lt;/math&gt; values of the collected data eliminates the impact of very ''old'' data on the resultant moving average completely. By choosing a small &lt;math&gt;\alpha&lt;/math&gt; old data is less important than recent data and discounts older observations faster, but even the oldest data has a impact on the calculation of &lt;math&gt;EMA(t)&lt;/math&gt; at time index &lt;math&gt;t&lt;/math&gt;.

Tne initialiation of &lt;math&gt;EMA(t)&lt;/math&gt; could incorporate something about values prior to the available data, i.e. history before &lt;math&gt;t=0&lt;/math&gt;. Tne initialiation could introduce an error in the &lt;math&gt;EMA(t)&lt;/math&gt;. In view of this the early results should be regarded as unreliable until the iterations have had time to [[w:de:Convergent series|converge]]. This is sometimes called a 'spin-up' interval. 

This formulation of EMA is designed as an application of an [[w:de:expected value|expected value]], which is a standard definition in [[w:de:probability theory|probability theory]]. 

According to Hunter (1986).&lt;ref&gt;[http://www.itl.nist.gov/div898/handbook/pmc/section4/pmc431.htm NIST/SEMATECH e-Handbook of Statistical Methods: Single Exponential Smoothing] at the [[w:de:National Institute of Standards and Technology|National Institute of Standards and Technology]]&lt;/ref&gt; this can be written as an repeated application of the recursive formula for different times &lt;math&gt;t&lt;/math&gt; without standardisation, i.e.
:119000000
An alternate approach defined by Roberts (1959)&lt;ref&gt;[http://www.itl.nist.gov/div898/handbook/pmc/section3/pmc324.htm NIST/SEMATECH e-Handbook of Statistical Methods: EWMA Control Charts] at the [[w:de:National Institute of Standards and Technology|National Institute of Standards and Technology]]&lt;/ref&gt; is missing the standardisation of the probability distribution too, while the basic principle of exponential moving average remains the same.

=== Application to measuring computer performance===
Some computer performance metrics, e.g. the average process queue length, or the average CPU utilization, use a form of exponential moving average with the recursive definition.

:&lt;math&gt;S_n = \alpha(t_n-t_{n-1}) \times Y_n + (1-\alpha(t_n-t_{n-1})) \times
S_{n-1}.&lt;/math&gt;

Here {{mvar|&amp;alpha;}} is defined as a function of time between two readings. An example of a coefficient giving bigger weight to the current reading, and smaller weight to the older readings is

:&lt;math&gt;\alpha(t_{n}-t_{n-1}) = 1-\exp\left({-{ {t_{n}-t_{n-1}} \over {W \times 60} }} \right)&lt;/math&gt;

where {{math|exp()}} is the [[w:de:exponential function|exponential function]], time for readings ''t''&lt;sub&gt;''n''&lt;/sub&gt; is expressed in seconds, and {{mvar|W}} is the period of time in minutes over which the reading is said to be averaged (the mean lifetime of each reading in the average). Given the above definition of {{mvar|&amp;alpha;}}, the moving average can be expressed as

:&lt;math&gt;S_n = \left(1-\exp\left(-{ {t_n - t_{n-1}} \over {W \times 60}}\right)\right) \times Y_n +
\exp\left(-{{t_n-t_{n-1}} \over {W \times 60}}\right) \times S_{n-1}&lt;/math&gt;

For example, a 15-minute average ''L'' of a process queue length ''Q'', measured every 5 seconds (time difference is 5 seconds), is computed as

:&lt;math&gt;
\begin{align}
L_n &amp;= \left(1-\exp\left({-{5 \over {15 \times 60}}}\right)\right) \times Q_n + e^{-{5 \over {15 \times 60}}}
\times L_{n-1} \\[6pt]
&amp; = \left(1-\exp\left({-{1 \over {180}}}\right)\right) \times Q_n + e^{-1/180} \times L_{n-1} \\[6pt]
&amp; = Q_n + e^{-1/180} \times ( L_{n-1} - Q_n )
\end{align}
&lt;/math&gt;</text>
      <sha1>ftf5u5oggojyfpr3g4x4rsenvx801rz</sha1>
    </revision>
    <revision>
      <id>2718416</id>
      <parentid>2718396</parentid>
      <timestamp>2025-06-13T07:58:14Z</timestamp>
      <contributor>
        <username>Bert Niehaus</username>
        <id>2387134</id>
      </contributor>
      <minor />
      <comment>Reverted edits by [[Special:Contributions/114.125.198.53|114.125.198.53]] ([[User_talk:114.125.198.53|talk]]) to last version by [[User:Bert Niehaus|Bert Niehaus]] using [[Wikiversity:Rollback|rollback]]</comment>
      <origin>2216910</origin>
      <model>wikitext</model>
      <format>text/x-wiki</format>
      <text bytes="7854" sha1="h40frkrhr3cv1ebzu675ncw1byfzix6" xml:space="preserve">==Exponential moving average==
{{further|Wikipedia:EWMA chart|Wikipedia:Exponential smoothing}}
[[Image:Exponential moving average weights N=15.png|thumb|right|EMA weights&amp;nbsp;''N''&amp;nbsp;=&amp;nbsp;200]]

An '''exponential moving average (EMA)''', also known as an '''exponentially weighted moving average (EWMA)''',&lt;ref&gt;http://lorien.ncl.ac.uk/ming/filter/filewma.htm&lt;/ref&gt; is a type of [[w:de:infinite impulse response|infinite impulse response]] filter that applies weighting factors which decrease [[w:de:exponentiation|exponentially]]. The weighting for each older [[w:de:data|datum]] decreases exponentially, never reaching zero. The graph at right shows an example of the weight decrease.

The EMA for a series &lt;math&gt;C:=(C(0),C(1),\ldots)&lt;/math&gt; of collected data with a set of dates &lt;math&gt;T:=\N_0&lt;/math&gt;, 
where &lt;math&gt;C(t)&lt;/math&gt; is the collected data at time index &lt;math&gt;t\in T:=\N_0&lt;/math&gt;. 
* First of all we have to defined a value &lt;math&gt;\alpha&lt;/math&gt; with &lt;math&gt;0 &lt; \alpha  &lt; 1&lt;/math&gt;, that represents the degree of weighting decrease as a constant smoothing factor between 0 and 1. A lower ''α'' discounts older observations faster.
* The weights are defined by 
:&lt;math&gt;w_t  = (1-\alpha)\cdot \alpha^t&lt;/math&gt; for all &lt;math&gt;t \in T:=\N_0&lt;/math&gt; with &lt;math&gt;\sum_{t=0}^{\infty} w_t = 1&lt;/math&gt; ([[w:de:geometric series|geometric series]]).
* The sum of weights from 0 to the time index &lt;math&gt;t \in T&lt;/math&gt; is defined by:
:&lt;math&gt;s(t)  = \sum_{k=0}^{t} w_k = \sum_{k=0}^{t} (1-\alpha)\cdot \alpha^k =  (1-\alpha)\cdot \underbrace{\sum_{k=0}^{t} \alpha^k}_{=\frac{1-\alpha^{t+1}}{1-\alpha}} = (1-\alpha)\cdot \frac{1-\alpha^{t+1}}{1-\alpha} = 1-\alpha^{t+1}&lt;/math&gt; 
* The discrete probability mass function is defined by:
:&lt;math&gt;
  p_t(x)=\begin{cases}
  \frac{w_{t-x}}{s(t)} = \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}}&amp; \mathrm{for}\ 0 \le x \le t, \\[8pt]
  0 &amp; \mathrm{for}\ x&lt;0\ \mathrm{or}\ x&gt;t
  \end{cases} 
&lt;/math&gt;
The definition above creates the exponential moving average ''EMA'' with discrete probability mass function &lt;math&gt;p_t&lt;/math&gt; by 
: &lt;math&gt;EMA(t):= \sum_{k \in T} p_t(k) \cdot C(k) = \sum_{k=0}^{t} p_t(k) \cdot C(k) =  \sum_{x=0}^{t} \frac{w_{t-k}}{s(t)} \cdot C(k) =  \sum_{k=0}^{t} \frac{(1-\alpha)\cdot \alpha^{t-k}}{1-\alpha^{t+1}} \cdot C(k)&lt;/math&gt;
The &lt;math&gt;EMA&lt;/math&gt; at time index &lt;math&gt;t \in T:=\N_0&lt;/math&gt; may be calculated recursively:
:&lt;math&gt;EMA(0) := C(0)&lt;/math&gt; and
:&lt;math&gt; EMA(t+1) := \frac{1-\alpha}{1-\alpha^{t+2}} \cdot C(t+1) + \alpha \cdot \frac{1-\alpha^{t+1}}{1-\alpha^{t+2}} \cdot EMA(t)&lt;/math&gt; for all &lt;math&gt;t \in T= \N_0=\{0,1,2,3,...\}&lt;/math&gt;
Where:
* The coefficient &lt;math&gt;\alpha&lt;/math&gt; represents the degree of weighting decrease from &lt;math&gt;EMA(t)&lt;/math&gt; to &lt;math&gt;EMA(t+1)&lt;/math&gt;. This implements the aging of data from &lt;math&gt;t&lt;/math&gt; to time index &lt;math&gt;t+1&lt;/math&gt;.
* the fraction &lt;math&gt;\frac{1-\alpha^{t+1}}{1-\alpha^{t+2}}&lt;/math&gt; adjusts the denominator &lt;math&gt;EMA(t)&lt;/math&gt; for &lt;math&gt;EMA(t+1)&lt;/math&gt;.
* the coefficient &lt;math&gt;\frac{1-\alpha}{1-\alpha^{t+2}} = p_{t+1}(t+1) = \frac{w_{(t+1)-(t+1)}}{s(t+1)}&lt;/math&gt; in the EMA at time index ''t+1''.

=== Initialization of EMA and Elimination of MA Impact form old data===
&lt;math&gt;EMA(0)&lt;/math&gt; may be initialized in a number of different ways, most commonly by setting &lt;math&gt;EMA(0)&lt;/math&gt; to the first collected data &lt;math&gt;C(0)&lt;/math&gt; at time index 0 as shown above, though other techniques exist, such as starting the calculation of the moving average after the first 4 or 5 observations. Furthermore only a most recent subset of collected data before the time index &lt;math&gt;t&lt;/math&gt; from the total history of collected date might be used for the &lt;math&gt;EMA(t)&lt;/math&gt;. 
The discrete probability mass function puts weights on the most recent &lt;math&gt;m+1&lt;/math&gt; values of the collected data by:
:&lt;math&gt;
  p_t(x)=\begin{cases}
  \frac{w_{t-x}}{s(t)} = \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}}&amp; \mathrm{for}\ 0 \le x \le t \ \mathrm{ and }\ t \le m \\[8pt]
  \frac{w_{t-x}}{s(t)-s(t-m)} = 
  \frac{(1-\alpha)\cdot \alpha^{t-x}}{1-\alpha^{t+1}-(1-\alpha^{t-m+1})} 
  =
  \frac{(1-\alpha)\cdot \alpha^{t-x}}{\alpha^{t-m+1}-\alpha^{t+1}} 
          &amp; \mathrm{for}\ (t-m) \le x \le t\ \mathrm{ and }\ t &gt;  m, \\[8pt]
  0 &amp; \mathrm{ for }\ x&lt;0\ \mathrm{or}\ x&gt;t
  \end{cases} 
&lt;/math&gt;
The limitations to the most recent &lt;math&gt;m+1&lt;/math&gt; values of the collected data eliminates the impact of very ''old'' data on the resultant moving average completely. By choosing a small &lt;math&gt;\alpha&lt;/math&gt; old data is less important than recent data and discounts older observations faster, but even the oldest data has a impact on the calculation of &lt;math&gt;EMA(t)&lt;/math&gt; at time index &lt;math&gt;t&lt;/math&gt;.

Tne initialiation of &lt;math&gt;EMA(t)&lt;/math&gt; could incorporate something about values prior to the available data, i.e. history before &lt;math&gt;t=0&lt;/math&gt;. Tne initialiation could introduce an error in the &lt;math&gt;EMA(t)&lt;/math&gt;. In view of this the early results should be regarded as unreliable until the iterations have had time to [[w:de:Convergent series|converge]]. This is sometimes called a 'spin-up' interval. 

This formulation of EMA is designed as an application of an [[w:de:expected value|expected value]], which is a standard definition in [[w:de:probability theory|probability theory]]. 

According to Hunter (1986).&lt;ref&gt;[http://www.itl.nist.gov/div898/handbook/pmc/section4/pmc431.htm NIST/SEMATECH e-Handbook of Statistical Methods: Single Exponential Smoothing] at the [[w:de:National Institute of Standards and Technology|National Institute of Standards and Technology]]&lt;/ref&gt; this can be written as an repeated application of the recursive formula for different times &lt;math&gt;t&lt;/math&gt; without standardisation, i.e.
:&lt;math&gt;\sum_{x\in T} p_t(x) = 1&lt;/math&gt;.
An alternate approach defined by Roberts (1959)&lt;ref&gt;[http://www.itl.nist.gov/div898/handbook/pmc/section3/pmc324.htm NIST/SEMATECH e-Handbook of Statistical Methods: EWMA Control Charts] at the [[w:de:National Institute of Standards and Technology|National Institute of Standards and Technology]]&lt;/ref&gt; is missing the standardisation of the probability distribution too, while the basic principle of exponential moving average remains the same.

=== Application to measuring computer performance===
Some computer performance metrics, e.g. the average process queue length, or the average CPU utilization, use a form of exponential moving average with the recursive definition.

:&lt;math&gt;S_n = \alpha(t_n-t_{n-1}) \times Y_n + (1-\alpha(t_n-t_{n-1})) \times
S_{n-1}.&lt;/math&gt;

Here {{mvar|&amp;alpha;}} is defined as a function of time between two readings. An example of a coefficient giving bigger weight to the current reading, and smaller weight to the older readings is

:&lt;math&gt;\alpha(t_{n}-t_{n-1}) = 1-\exp\left({-{ {t_{n}-t_{n-1}} \over {W \times 60} }} \right)&lt;/math&gt;

where {{math|exp()}} is the [[w:de:exponential function|exponential function]], time for readings ''t''&lt;sub&gt;''n''&lt;/sub&gt; is expressed in seconds, and {{mvar|W}} is the period of time in minutes over which the reading is said to be averaged (the mean lifetime of each reading in the average). Given the above definition of {{mvar|&amp;alpha;}}, the moving average can be expressed as

:&lt;math&gt;S_n = \left(1-\exp\left(-{ {t_n - t_{n-1}} \over {W \times 60}}\right)\right) \times Y_n +
\exp\left(-{{t_n-t_{n-1}} \over {W \times 60}}\right) \times S_{n-1}&lt;/math&gt;

For example, a 15-minute average ''L'' of a process queue length ''Q'', measured every 5 seconds (time difference is 5 seconds), is computed as

:&lt;math&gt;
\begin{align}
L_n &amp;= \left(1-\exp\left({-{5 \over {15 \times 60}}}\right)\right) \times Q_n + e^{-{5 \over {15 \times 60}}}
\times L_{n-1} \\[6pt]
&amp; = \left(1-\exp\left({-{1 \over {180}}}\right)\right) \times Q_n + e^{-1/180} \times L_{n-1} \\[6pt]
&amp; = Q_n + e^{-1/180} \times ( L_{n-1} - Q_n )
\end{align}
&lt;/math&gt;</text>
      <sha1>h40frkrhr3cv1ebzu675ncw1byfzix6</sha1>
    </revision>
  </page>
  <page>
    <title>Wikiversity:GUS2Wiki</title>
    <ns>4</ns>
    <id>285491</id>
    <revision>
      <id>2718400</id>
      <parentid>2717904</parentid>
      <timestamp>2025-06-12T18:35:17Z</timestamp>
      <contributor>
        <username>Alexis Jazz</username>
        <id>791434</id>
      </contributor>
      <comment>Updating gadget usage statistics from [[Special:GadgetUsage]] ([[phab:T121049]])</comment>
      <origin>2718400</origin>
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    <title>Social Victorians/Terminology</title>
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      <text bytes="186179" sha1="ofkkvgx7bwft28nbzdjkqlm9js5uiyo" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.


Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.


A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====


The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

Trains, skirt length
In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (below) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|none|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]The Henry Somm watercolor (below) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.[[File:Somm26.jpg|none|thumb|Somm26.jpg]]The 1888 photograph of American photographer Elizabeth Alice Austen (below) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Elizabeth Alice Austen in June 1888.jpg|none|thumb|Elizabeth Alice Austen in June 1888.jpg]]This mid-1880s fashion plate (below) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.[[File:Cperrien-fashionplatescan-p-vf 33.jpg|none|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
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      <text bytes="186175" sha1="jkh2mfhojuakiy8ocudcj22uco92n6d" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.

Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.

A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====


The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

Trains, skirt length
In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (below) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|none|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]The Henry Somm watercolor (below) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.[[File:Somm26.jpg|none|thumb|Somm26.jpg]]The 1888 photograph of American photographer Elizabeth Alice Austen (below) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Elizabeth Alice Austen in June 1888.jpg|none|thumb|Elizabeth Alice Austen in June 1888.jpg]]This mid-1880s fashion plate (below) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.[[File:Cperrien-fashionplatescan-p-vf 33.jpg|none|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
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      <text bytes="186178" sha1="kuddplnpobbjcfgpns3ysl739319ygb" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.

Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.

A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.&lt;p&gt;

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====


The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

Trains, skirt length
In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (below) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|none|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]The Henry Somm watercolor (below) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.[[File:Somm26.jpg|none|thumb|Somm26.jpg]]The 1888 photograph of American photographer Elizabeth Alice Austen (below) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Elizabeth Alice Austen in June 1888.jpg|none|thumb|Elizabeth Alice Austen in June 1888.jpg]]This mid-1880s fashion plate (below) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.[[File:Cperrien-fashionplatescan-p-vf 33.jpg|none|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
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      <text bytes="186181" sha1="2hn5kkzkawyj3qxmirh3drsjshdr8io" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.

Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.

A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.&lt;p&gt;

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']&lt;p&gt;

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====


The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

Trains, skirt length
In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (below) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|none|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]The Henry Somm watercolor (below) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.[[File:Somm26.jpg|none|thumb|Somm26.jpg]]The 1888 photograph of American photographer Elizabeth Alice Austen (below) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Elizabeth Alice Austen in June 1888.jpg|none|thumb|Elizabeth Alice Austen in June 1888.jpg]]This mid-1880s fashion plate (below) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.[[File:Cperrien-fashionplatescan-p-vf 33.jpg|none|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
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      <text bytes="186184" sha1="h9x4r3292v4q3e7absybluhwdivk2qo" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.

Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.

A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.&lt;p&gt;

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']&lt;p&gt;

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.&lt;p&gt;

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====


The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

Trains, skirt length
In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (below) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|none|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]The Henry Somm watercolor (below) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.[[File:Somm26.jpg|none|thumb|Somm26.jpg]]The 1888 photograph of American photographer Elizabeth Alice Austen (below) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Elizabeth Alice Austen in June 1888.jpg|none|thumb|Elizabeth Alice Austen in June 1888.jpg]]This mid-1880s fashion plate (below) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.[[File:Cperrien-fashionplatescan-p-vf 33.jpg|none|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
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      <text bytes="186183" sha1="1rgylg7mrtzis5fvznbhmne8z1zfssj" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.

Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.

A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.&lt;p&gt;

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']&lt;p&gt;

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.&lt;p&gt;

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====

The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

Trains, skirt length
In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (below) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|none|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]The Henry Somm watercolor (below) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.[[File:Somm26.jpg|none|thumb|Somm26.jpg]]The 1888 photograph of American photographer Elizabeth Alice Austen (below) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Elizabeth Alice Austen in June 1888.jpg|none|thumb|Elizabeth Alice Austen in June 1888.jpg]]This mid-1880s fashion plate (below) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.[[File:Cperrien-fashionplatescan-p-vf 33.jpg|none|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
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      <text bytes="186172" sha1="lwrjogmyuh9qq8sxmp37k03b1vwxftf" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.

Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.

A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.&lt;p&gt;

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']&lt;p&gt;

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.&lt;p&gt;

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====

The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]Trains, skirt length
In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (right) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.
The Henry Somm watercolor (below) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.[[File:Somm26.jpg|none|thumb|Somm26.jpg]]The 1888 photograph of American photographer Elizabeth Alice Austen (below) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Elizabeth Alice Austen in June 1888.jpg|none|thumb|Elizabeth Alice Austen in June 1888.jpg]][[File:Cperrien-fashionplatescan-p-vf 33.jpg|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]This mid-1880s fashion plate (right) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
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      <text bytes="186174" sha1="syt9a7viwg7sz3cesnjg4juo8xajez5" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.

Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.

A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.&lt;p&gt;

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']&lt;p&gt;

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.&lt;p&gt;

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====

The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

Trains, skirt length

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]
In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (right) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.
The Henry Somm watercolor (below) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.[[File:Somm26.jpg|none|thumb|Somm26.jpg]]The 1888 photograph of American photographer Elizabeth Alice Austen (below) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Elizabeth Alice Austen in June 1888.jpg|none|thumb|Elizabeth Alice Austen in June 1888.jpg]][[File:Cperrien-fashionplatescan-p-vf 33.jpg|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]This mid-1880s fashion plate (right) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
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      <text bytes="186176" sha1="f8rsey0pmd4rdw4j3gkl2cooi9mxudr" xml:space="preserve">Especially with respect to fashion, the newspapers at the end of the 19th century in the UK often used specialized terminology. The definitions on this page are to provide a sense of what someone in the late 19th century might have meant by the term rather than a definition of what we might mean by it today. In the absence of a specialized glossary from the end of the 19th century in the U.K., we use the ''Oxford English Dictionary'' because the senses of a word are illustrated with examples that have dates so we can be sure that the senses we pick are appropriate for when they are used in the quotations we have.

We also sometimes use the French ''Wikipédia'' to define a word because many technical terms of fashion were borrowings from the French. Also, often the French ''Wikipédia'' provides historical context for the uses of a word similar to the way the OED does.

== Articles or Parts of Clothing: Men's ==
[[Social Victorians/Terminology#Military|Men's military uniforms]] are discussed below.

=== À la Romaine ===
[[File:Johann Baptist Straub - Mars um 1772-1.jpg|thumb|left|alt=Old and damaged marble statue of a Roman god of war with flowing cloak, big helmet with a plume on top, and armor|Johann Baptist Straub's 1772 ''à la romaine'' ''Mars'']]
A few people who attended the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball in 1897]] personated Roman gods or people. They were dressed not as Romans, however, but ''à la romaine'', which was a standardized style of depicting Roman figures that was used in paintings, sculpture and the theatre for historical dress from the 17th until the 20th century. The codification of the style was developed in France in the 17th century for theatre and ballet, when it became popular for masked balls.

Women as well as men could be dressed ''à la romaine'', but much sculpture, portraiture and theatre offered opportunities for men to dress in Roman style — with armor and helmets — and so it was most common for men. In large part because of the codification of the style as well as the painting and sculpture, the style persisted and remained influential into the 20th century and can be found in museums and galleries and on monuments.

For example, Johann Baptist Straub's 1772 statue of Mars (left), now in the Bayerisches Nationalmuseum, Munich, missing part of an arm, shows Mars ''à la romaine''. In London, an early 17th-century example of a figure of Mars ''à la romaine'', with a helmet, '''was''' &quot;at the foot of the Buckingham tomb in Henry VII's Chapel at Westminster Abbey.&quot;&lt;ref&gt;Webb, Geoffrey. “Notes on Hubert Le Sueur-II.” ''The Burlington Magazine for Connoisseurs'' 52, no. 299 (1928): 81–89. http://www.jstor.org/stable/863535.&lt;/ref&gt;{{rp|81, Col. 2c}}

[[File:Sir-Anthony-van-Dyck-Lord-John-Stuart-and-His-Brother-Lord-Bernard-Stuart.jpg|thumb|alt=Old painting of 2 men flamboyantly and stylishly dressed in colorful silk, with white lace, high-heeled boots and long hair|Van Dyck's c. 1638 painting of cavaliers Lord John Stuart and his brother Lord Bernard Stuart]]
[[File:Frans_Hals_-_The_Meagre_Company_(detail)_-_WGA11119.jpg|thumb|Frans Hals - The Meagre Company (detail) - WGA11119.jpg]]

=== Cavalier ===
As a signifier in the form of clothing of a royalist political and social ideology begun in France in the early 17th century, the cavalier style established France as the leader in fashion and taste. Adopted by [[Social Victorians/Terminology#Military|wealthy royalist British military officers]] during the time of the Restoration, the style signified a political and social position, both because of the loyalty to Charles I and II as well the wealth required to achieve the cavalier look. The style spread beyond the political, however, to become associated generally with dress as well as a style of poetry.&lt;ref&gt;{{Cite journal|date=2023-04-25|title=Cavalier poet|url=https://en.wikipedia.org/w/index.php?title=Cavalier_poet&amp;oldid=1151690299|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier_poet.&lt;/ref&gt;

Van Dyck's 1638 painting of two brothers (right) emphasizes the cavalier style of dress.

=== Coats ===

==== Doublet ====
* In the 19th-century newspaper accounts we have seen that use this word, doublet seems always to refer to a garment worn by a man, but historically women may have worn doublets. In fact, a doublet worn by Queen Elizabeth I exists and '''is somewhere'''.
* Technically doublets were long sleeved, although we cannot be certain what this or that Victorian tailor would have done for a costume. For example, the [[Social Victorians/People/Spencer Compton Cavendish#Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball|Duke of Devonshire's costume as Charles V]] shows long sleeves that may be part of the surcoat but should be the long sleeves of the doublet.

==== Pourpoint ====
A padded doublet worn under armor to protect the warrior from the metal chafing. A pourpoint could also be worn without the armor.

==== Surcoat ====
Sometimes just called ''coat''.

[[File:Oscar Wilde by Sarony 1882 18.jpg|thumb|alt=Old photograph of a young man wearing a velvet jacket, knee breeches, silk hose and shiny pointed shoes with bows, seated on a sofa and leaning on his left hand and holding a book in his right| Oscar Wilde, 1882, by Napoleon Sarony]]
=== Hose, Stockings and Tights ===
Newspaper accounts from the late 19th century of men's clothing use the term ''hose'' for what we might call stockings or tights.

In fact, the terminology is specific. ''Stockings'' is the more general term and could refer to hose or tights. With knee breeches men wore hose, which ended above the knee, and women wore hose under their dresses.

The ''Oxford English Dictionary'' defines tights as &quot;Tight-fitting breeches, worn by men in the 18th and early 19th centuries, and still forming part of court-dress.&quot;&lt;ref&gt;“Tights, N.” ''Oxford English Dictionary'', Oxford UP, July 2023, https://doi.org/10.1093/OED/2693287467.&lt;/ref&gt; By 1897, the term was in use for women's stockings, which may have come up only to the knee. Tights were also worn by dancers and acrobats. This general sense of ''tights'' does not assume that they were knitted.

''Clocking'' is decorative embroidery on hose, usually, at the ankles on either the inside or the outside of the leg. It started at the ankle and went up the leg, sometimes as far as the knee. On women's hose, the clocking could be quite colorful and elaborate, while the clocking on men's hose was more inconspicuous.

In many photographs men's hose are wrinkled, especially at the ankles and the knees, because they were shaped from woven fabric. Silk hose were knitted instead of woven, which gave them elasticity and reduced the wrinkling.

The famous Sarony carte de visite photograph of Oscar Wilde (right) shows him in 1882 wearing knee breeches and silk hose, which are shiny and quite smoothly fitted although they show a few wrinkles at the ankles and knees. In the portraits of people in costume at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the men's hose are sometimes quite smooth, which means they were made of knitted silk and may have been smoothed for the portrait.

In painted portraits the hose are almost always depicted as smooth, part of the artist's improvement of the appearance of the subject.

=== Shoes and Boots ===

== Articles or Parts of Clothing: Women's ==

=== '''Chérusque''' ===
According to the French ''Wikipedia'', ''chérusque'' is a 19th-century term for the kind of standing collar like the ones worn by ladies in the Renaissance.&lt;ref&gt;{{Cite journal|date=2021-06-26|title=Collerette (costume)|url=https://fr.wikipedia.org/w/index.php?title=Collerette_(costume)&amp;oldid=184136746|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Collerette_(costume)#Au+xixe+siècle+:+la+Chérusque.&lt;/ref&gt;

=== Corsage ===
According to the ''Oxford English Dictionary'', the corsage is the &quot;'body' of a woman's dress; a bodice.&quot;&lt;ref&gt;&quot;corsage, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/42056. Accessed 7 February 2023.&lt;/ref&gt; This sense is well documented in the ''OED'' for the mid and late 19th-century, used this way in fiction as well as in a publication like ''Godey's Lady's Book'', which would be expected to use appropriate terminology associated with fashion and dress making.

The sense of &quot;a bouquet worn on the bodice&quot; is, according to the ''OED'', American.

=== Décolletage ===

=== Girdle ===

=== Mancheron ===
According to the ''Oxford English Dictionary'', a ''mancheron'' is a &quot;historical&quot; word for &quot;A piece of trimming on the upper part of a sleeve on a woman's dress.&quot;&lt;ref&gt;&quot;mancheron, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/113251. Accessed 17 April 2023.&lt;/ref&gt; At the present, in French, a ''mancheron'' is a cap sleeve &quot;cut directly on the bodice.&quot;&lt;ref&gt;{{Cite journal|date=2022-11-28|title=Manche (vêtement)|url=https://fr.wikipedia.org/w/index.php?title=Manche_(v%C3%AAtement)&amp;oldid=199054843|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Manche_(v%C3%AAtement).&lt;/ref&gt;

=== Petticoat ===

According to the ''O.E.D.'', a petticoat is a &lt;blockquote&gt;skirt, as distinguished from a bodice, worn either externally or showing beneath a dress as part of the costume (often trimmed or ornamented); an outer skirt; a decorative underskirt. Frequently in ''plural'': a woman's or girl's upper skirts and underskirts collectively. Now ''archaic'' or ''historical''.&lt;ref&gt;“petticoat, n., sense 2.b”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1021034245&gt;&lt;/ref&gt; &lt;/blockquote&gt;This sense is, according to the ''O.E.D.'', &quot;The usual sense between the 17th and 19th centuries.&quot; However, while petticoats belong in both outer- and undergarments — that is, meant to be seen or hidden, like underwear — they were always under another garment, for example, underneath an open overskirt. The primary sense seems to have shifted through the 19th century so that, by the end, petticoats were underwear and the term ''underskirt'' was used to describe what showed under an open overskirt. 

In the 19th century, women wore their chemises, bloomers and [[Social Victorians/Terminology#Hoops|hoops]] under their petticoats. 

=== Stomacher ===
According to the ''O.E.D.'', a stomacher is &quot;An ornamental covering for the chest (often covered with jewels) worn by women under the lacing of the bodice,&quot;&lt;ref&gt;“stomacher, n.¹, sense 3.a”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1169498955&gt;&lt;/ref&gt; although by the end of the 19th century, the bodice did not often have visible laces. Some stomachers were so decorated that they were thought of as part of the jewelry.

=== Train ===
A train is

The Length of the Train

'''For the monarch [or a royal?]'''

According to Debrett's,&lt;blockquote&gt;A peeress's coronation robe is a long-trained crimson velvet mantle, edged with miniver pure, with a miniver pure cape. The length of the train varies with the rank of the wearer:

* Duchess: for rows of ermine; train to be six feet
* Marchioness: three and a half rows of ermine; train to be three and three-quarters feet
* Countess: three rows of ermine; train to be three and a half feet
* Viscountess: two and a half rows of ermine; train to be three and a quarter feet
* Baroness: two rows of ermine; train to be three feet&lt;ref name=&quot;:2&quot;&gt;{{Cite web|url=https://debretts.com/royal-family/dress-codes/|title=Dress Codes|website=debretts.com|language=en-US|access-date=2023-07-27}} https://debretts.com/royal-family/dress-codes/.&lt;/ref&gt;
&lt;/blockquote&gt;The pattern on the coronet worn was also quite specific, similar but not exactly the same for peers and peeresses. Debrett's also distinguishes between coronets and tiaras, which were classified more like jewelry, which was regulated only in very general terms.

Peeresses put on their coronets after the Queen or Queen Consort has been crowned. ['''peers?''']

== Hats, Bonnets and Headwear ==

=== Women's ===

==== Fontanges ====
Another fontange:
[[File:Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg|none|thumb|Madame de Ludre en Stenkerke et falbala - (estampe) (2e état) - N. arnoult fec - btv1b53265886c.jpg]]
[[File:Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg|none|thumb|Recueil de modes - Tome 4 - cent-quatre-vingt-cinq planches - estampes - btv1b105296325 (083 of 195).jpg]]

=== Men's ===

== Cinque Cento ==
According to the ''Oxford English Dictionary'', ''Cinque Cento'' is a shortening of ''mil cinque cento'', or 1500.&lt;ref&gt;&quot;cinquecento, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/33143. Accessed 7 February 2023.&lt;/ref&gt; The term, then would refer, perhaps informally, to the sixteenth century.

== Corset ==
[[File:Corset - MET 1972.209.49a, b.jpg|thumb|alt=Photograph of an old silk corset on a mannequin, showing the closure down the front, similar to a button, and channels in the fabric for the boning. It is wider at the top and bottom, creating smooth curves from the bust to the compressed waist to the hips, with a long point below the waist in front.|French 1890s corset, now in the Metropolitan Museum of Art, NYC]]
The understructure of Victorian women's clothing is what makes the costumes worn by the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] so distinctly Victorian in appearance. An example of a corset that has the kind of structure often worn by fashionably dressed women in 1897 is the one at right. 

This corset exaggerated the shape of the women's bodies and made possible a bodice that looked and was fitted in the way that is so distinctive of the time — very controlled and smooth. And, as a structural element, this foundation garment carried the weight of all those layers and all that fabric and decoration on the gowns, trains and mantles. (The trains and mantles could be attached directly to the corset itself.)

* This foundation emphasizes the waist and the bust in particular, in part because of the contrast between the very small waist and the rounded fullness of the bust and hips.
* The idealized waist is defined by its small span and the sexualizing point at the center-bottom of the bodice, which directs the eye downwards. Interestingly, the pointed waistline worn by Elizabethan men has become level in the Victorian age. Highly fashionable Victorian women wearing the traditional style, however, had extremely pointed waists.
* The busk (a kind of boning in the front of a corset that is less flexible than the rest) smoothed the bodice, flattened the abdomen and prevented the point on the bodice from curling up.
* The sharp definition of the waist was caused by
** length of the corset (especially on the sides)
** the stiffness of the boning
** the layers of fabric
** the lacing (especially if the woman used tightlacing)
** the over-all shape, which was so much wider at the top and the bottom
** the contrast between the waist and the wider top and bottom
* The late-19th-century corset was long, ending below the waist even on the sides and back.
* The boning and the top edge of the late 19th-century fashion corset pushed up the bust, rounding (rather than flattening, as in earlier styles) the breasts, drawing attention to their exposed curves and creating cleavage.
* The exaggerated bust was larger than the hips, whenever possible, an impression reinforced by the A-line of the skirt and the inverted Vs in the decorative trim near the waist and on the skirt.
* This corset made the bodice very smooth with a very precise fit, that had no wrinkles, folds or loose drapery. The bodice was also trimmed or decorated, but the base was always a smooth bodice. More formal gowns would still have the fitted bodice and more elaborate trim made from lace, embroidery, appliqué, beading and possibly even jewels.
The advantages and disadvantages of corseting and especially tight lacing were the subject of thousands of articles and opinions in the periodical press for a great part of the century, but the fetishistic and politicized tight lacing was practiced by very few women. And no single approach to corsetry was practiced by all women all the time. Most of the women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 ball]] were not tightly laced, but the progressive style does not dominate either, even though all the costumes are technically historical dress. Part of what gives most of the costumes their distinctive 19th-century &quot;look&quot; is the more traditional corset beneath them. Even though this highly fashionable look was widely present in the historical costumes at the ball, some women's waists were obviously very small and others were hardly '''emphasized''' at all. Women's waists are never mentioned in the newspaper coverage of the ball — or, indeed, of any of the social events attended by the network at the ball — so it is only in photographs that we can see the effects of how they used their corsets.

==== Things To Add ====
[[File:Woman's Corset LACMA M.2007.211.353.jpg|thumb|Woman's Corset LACMA M.2007.211.353.jpg|none]]

* Corset as an outer garment, 18th century, in place of a stomacher&lt;ref name=&quot;:11&quot; /&gt; (419)
* Corsets could be laced in front or back
* Methods for making the holes for the laces and the development of the grommet (in the 1830s)

== Court Dress ==
Also Levee and drawing-room

== Crevé ==
''Creve'', without the accent, is an old word in English (c. 1450) for burst or split.&lt;ref&gt;&quot;creve, v.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44339. Accessed 8 February 2023.&lt;/ref&gt; ['''With the acute accent, it looks like a past participle in French.''']

== Elaborations ==
In her 1973 ''The Best Circles: Society, Etiquette and the Season'', Leonore Davidoff notes that women’s status was indicated by dress and especially ornament: “Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration,” she says, “symbolised some status category for the female wearer.”&lt;ref name=&quot;:1&quot;&gt;Davidoff, Leonore. ''The Best Circles: Society Etiquette and the Season''. Intro., Victoria Glendinning. The Cressett Library (Century Hutchinson), 1986 (orig 1973).&lt;/ref&gt;{{rp|93}}

Looking at these elaborations as meaningful rather than dismissing them as failed attempts at &quot;historical accuracy&quot; reveals a great deal about the individual women who wore or carried them — and about the society women and political hostesses in their roles as managers of the social world. In her review of ''The House of Worth: Portrait of an Archive'', Mary Frances Gormally says,&lt;blockquote&gt;In a socially regulated year, garments custom made with a Worth label provided women with total reassurance, whatever the season, time of day or occasion, setting them apart as members of the “Best Circles” dressed in luxurious, fashionable and always appropriate attire (Davidoff 1973). The woman with a Worth wardrobe was a woman of elegance, lineage, status, extreme wealth and faultless taste.&lt;ref&gt;Gormally, Mary Frances. Review essay of ''The House of Worth: Portrait of an Archive'', by Amy de la Haye and Valerie D. Mendes (V&amp;A Publishing, 2014). ''Fashion Theory'' 2017 (21, 1): 109–126. DOI: 10.1080/1362704X.2016.1179400.&lt;/ref&gt; (117)&lt;/blockquote&gt;

[[File:Aglets from Spanish portraits - collage by shakko.jpg|thumb|alt=A collage of 12 different ornaments typically worn by elite people from Spain in the 1500s and later|Aglets — Detail from Spanish Portraits]]
=== Aglet, Aiglet ===
Historically, an aglet is a &quot;point or metal piece that capped a string [or ribbon] used to attach two pieces of the garment together, i.e., sleeve and bodice.&quot;&lt;ref name=&quot;:7&quot;&gt;Lewandowski, Elizabeth J. ''The Complete Costume Dictionary''. Scarecrow Press, 2011.&lt;/ref&gt;{{rp|4}} Although they were decorative, they were not always visible on the outside of the clothing. They were often stuffed inside the layers at the waist (for example, attaching the bodice to a skirt or breeches).

Alonso Sánchez Coello's c. 1584 (316) portrait (above right, in the [[Social Victorians/Terminology#16th Century|Hoops section]]) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour,&quot; with &quot;handsome aiglets cascad[ing] down center front.&quot;&lt;ref name=&quot;:11&quot;&gt;Payne, Blanche. ''History of Costume from the Ancient Egyptians to the Twentieth Century''. Harper &amp; Row, 1965.&lt;/ref&gt; (315)

=== Frou-frou ===
In French, ''frou-frou'' or, spelled as ''froufrou'', is the sound of the rustling of silk or sometimes of fabrics in general.&lt;ref&gt;{{Cite journal|date=2023-07-25|title=frou-frou|url=https://fr.wiktionary.org/w/index.php?title=frou-frou&amp;oldid=32508509|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/frou-frou.&lt;/ref&gt; The first use the French ''Wiktionnaire'' lists is Honoré Balzac, ''La Cousine Bette'', 1846.&lt;ref&gt;{{Cite journal|date=2023-06-03|title=froufrou|url=https://fr.wiktionary.org/w/index.php?title=froufrou&amp;oldid=32330124|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/froufrou.&lt;/ref&gt;

''Frou-frou'' is a term clothing historians use to describe decorative additions to an article of clothing; often the term has a slight negative connotation, suggesting that the additions are superficial and, perhaps, excessive.

=== Plastics ===
Small poufs of fabric connected in a strip in the 18th century, Rococo styles.

=== Pouf, Puff, Poof ===
According to the French ''Wikipédia'', a pouf was, beginning in 1744, a &quot;kind of women's hairstyle&quot;:&lt;blockquote&gt;The hairstyle in question, known as the “pouf”, had launched the reputation of the enterprising Rose Bertin, owner of the Grand Mogol, a very prominent fashion accessories boutique on Rue Saint-Honoré in Paris in 1774. Created in collaboration with the famous hairdresser, Monsieur Léonard, the pouf was built on a scaffolding of wire, fabric, gauze, horsehair, fake hair, and the client's own hair held up in an almost vertical position. — (Marie-Antoinette, ''Queen of Fashion'', translated from the American by Sylvie Lévy, in ''The Rules of the Game'', n° 40, 2009)&lt;/blockquote&gt;''Puff'' and ''poof'' are used to describe clothing.

=== Shirring ===
''Shirring'' is the gathering of fabric to make poufs or puffs. The 19th century is known for its use of this decorative technique. Even men's clothing had shirring: at the shoulder seam.

=== Sequins ===
Sequins, paillettes, spangles

Sequins — or paillettes — are &quot;small, scalelike glittering disks.&quot;&lt;ref name=&quot;:7&quot; /&gt;(216) The French ''Wiktionnaire'' defines ''paillette'' as &quot;Lamelle de métal, brillante, mince, percée au milieu, ordinairement ronde, et qu’on applique sur une étoffe pour l’orner [A strip of metal, shiny, thin, pierced in the middle, usually round, and which is applied to a fabric in order to decorate it.]&quot;&lt;ref name=&quot;:8&quot;&gt;{{Cite journal|date=2024-03-18|title=paillette|url=https://fr.wiktionary.org/w/index.php?title=paillette&amp;oldid=33809572|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/paillette.&lt;/ref&gt;

According to the ''OED'', the use of ''sequin'' as a decorative device for clothing (as opposed to gold coins minted and used for international trade) goes back to the 1850s.&lt;ref&gt;“Sequin, N.” ''Oxford English Dictionary'', Oxford UP, September 2023,  https://doi.org/10.1093/OED/4074851670.&lt;/ref&gt; The first instance of ''spangle'' as &quot;A small round thin piece of glittering metal (usually brass) with a hole in the centre to pass a thread through, used for the decoration of textile fabrics and other materials of various sorts&quot; is from c. 1420.&lt;ref&gt;“Spangle, N. (1).” ''Oxford English Dictionary'', Oxford UP, July 2023,  https://doi.org/10.1093/OED/4727197141.&lt;/ref&gt; The first use of ''paillette'' listed in the French ''Wiktionnaire'' is in Jules Verne in 1873 to describe colored spots on icy walls.&lt;ref name=&quot;:8&quot; /&gt;

Currently many distinguish between sequins (which are smaller) and paillettes (which are larger).

Before the 20th century, sequins were metal discs or foil leaves, and so of course if they were silver or copper, they tarnished. It is not until well into the 20th century that plastics were invented and used for sequins.

=== Trim and Lace ===
''A History of Feminine Fashion'', published sometime before 1927 and probably commissioned by [[Social Victorians/People/Dressmakers and Costumiers#Worth, of Paris|the Maison Worth]], describes Charles Frederick Worth's contributions to the development of embroidery and [[Social Victorians/Terminology#Passementerie|passementerie]] (trim) from about the middle of the 19th century:&lt;blockquote&gt;For it must be remembered that one of M. Worth's most important and lasting contributions to the prosperity of those who cater for women's needs, as well as to the variety and elegance of his clients' garments, was his insistence on new fabrics, new trimmings, new materials of every description. In his endeavours to restore in Paris the splendours of the days of La Pompadour, and of Marie Antoinette, he found himself confronted at the outset with a grave difficulty, which would have proved unsurmountable to a man of less energy, resource and initiative. The magnificent materials of those days were no longer to be had! The Revolution had destroyed the market for beautiful materials of this, type, and the Restoration and regime of Louis Philippe had left a dour aspect in the City of Light. ... On parallel lines [to his development of better [[Social Victorians/Terminology#Satin|satin]]], [Worth] stimulated also the manufacture of embroidery and ''passementerie''. It was he who first started the manufacture of laces copied from the designs of the real old laces. He was the / first dressmaker to use fur in the trimming of light materials — but he employed only the richer furs, such as sable and ermine, and had no use whatever for the inferior varieties of skins.&lt;ref name=&quot;:9&quot;&gt;[Worth, House of.] {{Cite book|url=http://archive.org/details/AHistoryOfFeminineFashion|title=A History Of Feminine Fashion (1800s to 1920s)}} Before 1927. [Likely commissioned by Worth. Link is to Archive.org; info from Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Worth_Biarritz_salon.jpg.]&lt;/ref&gt;{{rp|6–7}}&lt;/blockquote&gt;

==== Gold and Silver Fabric and Lace ====

The ''Encyclopaedia Britannica'' (9th edition) has an article on gold and silver fabric, threads and lace attached to the article on gold. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;GOLD AND SILVER LACE. Under this heading a general account may be given of the use of the precious metals in textiles of all descriptions into which they enter. That these metals were used largely in the sumptuous textiles of the earliest periods of civilization there is abundant testimony; and to this day, in the Oriental centres whence a knowledge and the use of fabrics inwoven, ornamented, and embroidered with gold and silver first spread, the passion for such brilliant and costly textiles is still most strongly and generally prevalent. The earliest mention of the use of gold in a woven fabric occurs in the description of the ephod made for Aaron (Exod. xxxix. 2, 3) — &quot;And he made the ephod of gold, blue, and purple, and scarlet, and fine twined linen. And they did beat the gold into thin plates, and cut it into wires (strips), to work it in the blue, and in the purple, and in the scarlet, and in the fine linen, with cunning work.&quot; In both the ''Iliad'' and the ''Odyssey'' distinct allusion is frequently made to inwoven and embroidered golden textiles. Many circumstances point to the conclusion that the art of weaving and embroidering with gold and silver originated in India, where it is still principally prosecuted, and that from one great city to another the practice travelled westward, — Babylon, Tarsus, Baghdad, Damascus, the islands of Cyprus and Sicily, Con- / stantinople and Venice, all in the process of time becoming famous centres of these much prized manufactures. Alexander the Great found Indian kings and princes arrayed in robes of gold and purple; and the Persian monarch Darius, we are told, wore a war mantle of cloth of gold, on which were figured two golden hawks as if pecking at each other. There is reason, according to Josephus, to believe that the “royal apparel&quot; worn by Herod on the day of his death (Acts xii. 21) was a tissue of silver. Agrippina, the wife of the emperor Claudius, had a robe woven entirely of gold, and from that period downwards royal personages and high ecclesiastical dignitaries used cloth and tissues of gold and silver for their state and ceremonial robes, as well as for costly hangings and decorations. In England, at different periods, various names were applied to cloths of gold, as ciclatoun, tartarium, naques or nac, baudekiu or baldachin, Cyprus damask, and twssewys or tissue. The thin flimsy paper known as tissue paper, is so called because it originally was placed between the folds of gold &quot;tissue&quot; to prevent the contiguous surfaces from fraying each other. At what time the drawing of gold wire for the preparation of these textiles was first practised is not accurately known. The art was probably introduced and applied in different localities at widely different dates, but down till mediaeval times the method graphically described in the Pentateuch continued to be practised with both gold and silver.

Fabrics woven with gold and silver continue to be used on the largest scale to this day in India; and there the preparation of the varieties of wire, and the working of the various forms of lace, brocade, and embroidery, is at once an important and peculiar art. The basis of all modern fabrics of this kind is wire, the &quot;gold wire&quot; of the manufacturer being in all cases silver gilt wire, and silver wire being, of course, composed of pure silver. In India the wire is drawn by means of simple draw-plates, with rude and simple appliances, from rounded bars of silver, or gold-plated silver, as the case may be. The wire is flattened into the strip or ribbon-like form it generally assumes by passing it, fourteen or fifteen strands simultaneously, over a fine, smooth, round-topped anvil, and beating it as it passes with a heavy hammer having a slightly convex surface. From wire so flattened there is made in India soniri, a tissue or cloth of gold, the web or warp being composed entirely of golden strips, and ruperi, a similar tissue of silver. Gold lace is also made on a warp of thick yellow silk with a weft of flat wire, and in the case of ribbons the warp or web is composed of the metal. The flattened wires are twisted around orange (in the case of silver, white) coloured silk thread, so as completely to cover the thread and present the appearance of a continuous wire; and in this form it is chiefly employed for weaving into the rich brocades known as kincobs or kinkhábs. Wires flattened, or partially flattened, are also twisted into exceedingly fine spirals, and in this form they are the basis of numerous ornamental applications. Such spirals drawn out till they present a waved appearance, and in that state flattened, are much used for rich heavy embroideries termed karchobs. Spangles for embroideries, &amp;c., are made from spirals of comparatively stout wire, by cutting them down ring by ring, laying each C-like ring on an anvil, and by a smart blow with a hammer flattening it out into a thin round disk with a slit extending from the centre to one edge. Fine spirals are also used for general embroidery purposes. The demand for various kinds of loom-woven and embroidered gold and silver work in India is immense; and the variety of textiles so ornamented is also very great. &quot;Gold and silver,&quot; says Dr Birdwood in his ''Handbook to the British-Indian Section, Paris Exhibition'', 1878, &quot;are worked into the decoration of all the more costly loom-made garments and Indian piece goods, either on the borders only, or in stripes throughout, or in diapered figures. The gold-bordered loom embroideries are made chiefly at Sattara, and the gold or silver striped at Tanjore; the gold figured ''mashrus'' at Tanjore, Trichinopoly, and Hyderabad in the Deccau; and the highly ornamented gold-figured silks and gold and silver tissues principally at Ahmedabad, Benares, Murshedabad, and Trichinopoly.&quot;

Among the Western communities the demand for gold and silver lace and embroideries arises chiefly in connexion with naval and military uniforms, court costumes, public and private liveries, ecclesiastical robes and draperies, theatrical dresses, and the badges and insignia of various orders. To a limited extent there is a trade in gold wire and lace to India and China. The metallic basis of the various fabrics is wire round and flattened, the wire being of three kinds — 1st, gold wire, which is invariably silver gilt wire; 2d, copper gilt wire, used for common liveries and theatrical purposes; and 3d, silver wire. These wires are drawn by the ordinary processes, and the flattening, when done, is accomplished by passing the wire between a pair of revolving rollers of fine polished steel. The various qualities of wire are prepared and used in precisely the same way as in India, — round wire, flat wire, thread made of flat gold wire twisted round orange-coloured silk or cotton, known in the trade as &quot;orris,&quot; fine spirals and spangles, all being in use in the West as in the East. The lace is woven in the same manner as ribbons, and there are very numerous varieties in richness, pattern, and quality.  Cloth of gold, and brocades rich in gold and silver, are woven for ecclesiastical vestments and draperies.

The proportions of gold and silver in the gold thread for the lace trade varies, but in all cases the proportion of gold is exceedingly small. An ordinary gold lace wire is drawn from a bar containing 90 parts of silver and 7 of copper, coated with 3 parts of gold. On an average each ounce troy of a bar so plated is drawn into 1500 yards of wire; and therefore about 16 grains of gold cover a mile of wire. It is estimated that about 250,000 ounces of gold wire are made annually in Great Britain, of which about 20 per cent, is used for the headings of calico, muslin, &amp;c., and the remainder is worked up in the gold lace trade.&lt;ref&gt;William Chandler Roberts-Austen and H. Bauerman [W.C.R. — H.B.]. &quot;Gold and Silver Lace.&quot; In &quot;Gold.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. 10 (X). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%2010%20%28G-GOT%29%20193592738.23/page/753/mode/1up (accessed January 2023): 753, Col. 2c – 754, Cols. 1a–b – 2a–b.&lt;/ref&gt;&lt;/blockquote&gt;

==== Honiton Lace ====

Kate Stradsin says,&lt;blockquote&gt;Honiton lace was the finest English equivalent of Brussels bobbin lace and was constructed in small ‘sprigs, in the cottages of lacemakers[.'] These sprigs were then joined together and bleached to form the large white flounces that were so sought after in the mid-nineteenth century.&lt;ref&gt;Strasdin, Kate. &quot;Rediscovering Queen Alexandra’s Wardrobe: The Challenges and Rewards of Object-Based Research.&quot; ''The Court Historian'' 24.2 (2019): 181-196. Rpt  http://repository.falmouth.ac.uk/3762/15/Rediscovering%20Queen%20Alexandra%27s%20Wardrobe.pdf: 13, and (for the little quotation) n. 37, which reads &quot;Margaret Tomlinson, ''Three Generations in the Honiton Lace Trade: A Family History'', self-published, 1983.&quot;&lt;/ref&gt;&lt;/blockquote&gt;

[[File:Strook in Alençon naaldkant, 1750-1775.jpg|thumb|alt=A long piece of complex white lace with garlands, flowers and bows|Point d'Alençon lace, 1750-1775]]
==== Passementerie ====
''Passementerie'' is the French term for trim on clothing or furniture. The 19th century (especially during the First and Second Empire) was a time of great &quot;''exubérance''&quot; in passementerie in French design, including the development and widespread use of the Jacquard loom.&lt;ref&gt;{{Cite journal|date=2023-06-10|title=Passementerie|url=https://fr.wikipedia.org/w/index.php?title=Passementerie&amp;oldid=205068926|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Passementerie.&lt;/ref&gt;

==== Point d'Alençon Lace ====
A lace made by hand using a number of complex steps and layers. The lacemakers build the point d'Alençon design on some kind of mesh and sometimes leave some of the mesh in as part of the lace and perhaps to provide structure.

Elizabeth Lewandowski defines point d'Alençon lace and Alençon lace separately. Point lace is needlepoint lace,&lt;ref name=&quot;:7&quot; /&gt;{{rp|233}} so Alençon point is &quot;a two thread [needlepoint] lace.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}} Alençon lace has a &quot;floral design on [a] fine net ground [and is] referred to as [the] queen of French handmade needlepoint laces. The original handmade Alençon was a fine needlepoint lace made of linen thread.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|7}}

The sample of point d'Alençon lace (right), from 1750–1775, shows the linen mesh that the lace was constructed on.&lt;ref&gt;{{Cite web|url=http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689|title=MoMu - Open Fashion|website=openfashion.momu.be|access-date=2024-02-26}} ModeMuseum Antwerpen. http://openfashion.momu.be/#9ce5f00e-8a06-4dab-a833-05c3371f3689.&lt;/ref&gt; The consistency in this sample suggests it may have been made by machine.

== Elastic ==
Elastic had been invented and was in use by the end of the 19th century. For the sense of &quot;Elastic cord or string, usually woven with india-rubber,&quot;&lt;ref name=&quot;:6&quot;&gt;“elastic, adj. &amp; n.”.  ''Oxford English Dictionary'', Oxford University Press,  September 2023, &lt;https://doi.org/10.1093/OED/1199670313&gt;.&lt;/ref&gt; the ''Oxford English Dictionary'' has usage examples beginning in 1847. The example for 1886 is vivid: &quot;The thorough-going prim man will always place a circle of elastic round his hair previous to putting on his college cap.&quot;&lt;ref name=&quot;:6&quot; /&gt;

== Fabric ==

=== Brocatelle ===
Brocatelle is a kind of brocade, more simple than most brocades because it uses fewer warp and weft threads and fewer colors to form the design. The article in the French ''Wikipédia'' defines it like this:&lt;blockquote&gt;La '''brocatelle''' est un type de tissu datant du &lt;abbr&gt;xvi&lt;sup&gt;e&lt;/sup&gt;&lt;/abbr&gt; siècle qui comporte deux chaînes et deux trames, au minimum. Il est composé pour que le dessin ressorte avec un relief prononcé, grâce à la chaîne sur un fond en sergé. Les brocatelles les plus anciennes sont toujours fabriquées avec une des trames en lin.&lt;ref&gt;{{Cite journal|date=2023-06-01|title=Brocatelle|url=https://fr.wikipedia.org/w/index.php?title=Brocatelle&amp;oldid=204796410|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Brocatelle.&lt;/ref&gt;&lt;/blockquote&gt;Which translates to this:&lt;blockquote&gt;Brocatelle is a type of fabric dating from the 16th century that has two warps and two wefts, at a minimum. It is composed so that the design stands out with a pronounced relief, thanks to the weft threads on a twill background. The oldest brocades were always made with one of the wefts being linen.&lt;/blockquote&gt;The ''Oxford English Dictionary'' says, brocatelle is an &quot;imitation of brocade, usually made of silk or wool, used for tapestry, upholstery, etc., now also for dresses. Both the nature and the use of the stuff have changed&quot; between the late 17th century and 1888, the last time this definition was revised.&lt;ref&gt;&quot;brocatelle, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/23550. Accessed 4 July 2023.&lt;/ref&gt;

=== Broché ===

=== Ciselé ===

=== Crépe de Chine ===
The ''Oxford English Dictionary'' distinguishes the use of ''crêpe'' (using a circumflex rather than an acute accent over the first ''e'') from ''crape'' in textiles, saying ''crêpe'' is &quot;often borrowed [from the French] as a term for all crapy fabrics other than ordinary black mourning crape,&quot;&lt;ref&gt;&quot;crêpe, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/44242. Accessed 10 February 2023.&lt;/ref&gt; with usage examples ranging from 1797 to the mid 20th century. Crêpe de chine, it says is &quot;a white or other coloured crape made of raw silk.&quot;

=== Crinoline ===
Technically, crinoline was a fabric made mostly of horsehair and sometimes linen, stiffened with starch or glue, similar to buckram today, used in men's military collars and [[Social Victorians/Terminology#Crinolines|women's foundation garments]]. Lewandowski defines crinoline as &lt;blockquote&gt;(1840–1865 C.E.). France. Originally horsehair cloth used for officers' collars. Later used for women's underskirts to support skirts. Around 1850, replaced by many petticoats, starched and boned. Around 1856, [[Social Victorians/Terminology#Crinoline Hoops|light metal cage]] was developed.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

=== Épinglé Velvet ===
Often spelled ''épingle'' rather than ''épinglé'', this term appears to have been used for a fabric made of wool, or at least wool along with linen or cotton, that was heavier and stiffer than silk velvet. It was associated with outer garments and men's clothing. Nowadays, épinglé velvet is an upholstery fabric in which the pile is cut into designs and patterns, and the portrait of [[Social Victorians/People/Douglas-Hamilton Duke of Hamilton|Mary, Duchess of Hamilton]] shows a mantle described as épinglé velvet that does seem to be a velvet with a woven pattern perhaps cut into the pile. 

=== Lace ===
While lace also functioned sometimes as fabric — at the décolletage, for example, on the stomacher or as a veil — here we organize it as a [[Social Victorians/Terminology#Trim and Lace|part of the elaboration of clothing]].

=== Liberty Fabrics ===

=== Lisse ===
According to the ''Oxford English Dictionary'', the term ''lisse'' as a &quot;kind of silk gauze&quot; was used in the 19th-century UK and US.&lt;ref&gt;&quot;lisse, n.1.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/108978. Accessed 4 July 2023.&lt;/ref&gt;

=== Satin ===
The pre-1927 ''History of Feminine Fashion'', probably commissioned by Charles Frederick Worth's sons, describes Worth's &quot;insistence on new fabrics, new trimmings, new materials of every description&quot; at the beginning of his career in the mid 19th century:&lt;blockquote&gt;When Worth first entered the business of dressmaking, the only materials of the richer sort used for woman's dress were velvet, faille, and watered silk. Satin, for example, was never used. M. Worth desired to use satin very extensively in the gowns he designed, but he was not satisfied with what could be had at the time; he wanted something very much richer than was produced by the mills at Lyons. That his requirements entailed the reconstruction of mills mattered little — the mills were reconstructed under his directions, and the Lyons looms turned out a richer satin than ever, and the manufacturers prospered accordingly.&lt;ref name=&quot;:9&quot; /&gt;{{rp|6 in printed, 26 in digital book}}&lt;/blockquote&gt;

=== Selesia ===
According to the ''Oxford English Dictionary'', ''silesia'' is &quot;A fine linen or cotton fabric originally manufactured in Silesia in what is now Germany (''Schlesien'').&lt;ref&gt;&quot;Silesia, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/179664. Accessed 9 February 2023.&lt;/ref&gt; It may have been used as a lining — for pockets, for example — in garments made of more luxurious or more expensive cloth. The word ''sleazy'' — &quot;Of textile fabrics or materials: Thin or flimsy in texture; having little substance or body.&quot;&lt;ref&gt;&quot;sleazy, adj.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/181563. Accessed 9 February 2023.&lt;/ref&gt; — may be related.

=== Shot Fabric ===
According to the ''Oxford English Dictionary'', &quot;Of a textile fabric: Woven with warp-threads of one colour and weft-threads of another, so that the fabric (usually silk) changes in tint when viewed from different points.&quot;&lt;ref&gt;“Shot, ''Adj.''”  ''Oxford English Dictionary'', Oxford UP,  July 2023,  https://doi.org/10.1093/OED/2977164390.&lt;/ref&gt; A shot fabric might also be made of silk and cotton fibers.

=== Tissue ===
A lightly woven fabric like gauze or chiffon. The light weave can make the fabric translucent and make pleating and gathering flatter and less bulky. Tissue can be woven to be shot, sheer, stiff or soft.

Historically, the term in English was used for a &quot;rich kind of cloth, often interwoven with gold or silver&quot; or &quot;various rich or fine fabrics of delicate or gauzy texture.&quot;&lt;ref&gt;“Tissue, N.” ''Oxford English Dictionary'', Oxford UP, March 2024, https://doi.org/10.1093/OED/5896731814.&lt;/ref&gt;

== Fan ==

The ''Encyclopaedia Britannica'' (9th edition) has an article on the fan. (This article is based on knowledge that would have been available toward the end of the 19th century and does not, obviously, reflect current knowledge or ways of talking.)&lt;blockquote&gt;FAN (Latin, ''vannus''; French, ''éventail''), a light implement used for giving motion to the air. ''Ventilabrum'' and ''flabellum'' are names under which ecclesiastical fans are mentioned in old inventories. Fans for cooling the face have been in use in hot climates from remote ages. A bas-relief in the British Museum represents Sennacherib with female figures carrying feather fans. They were attributes of royalty along with horse-hair fly-flappers and umbrellas. Examples may be seen in plates of the Egyptian sculptures at Thebes and other places, and also in the ruins of Persepolis. In the museum of Boulak, near Cairo, a wooden fan handle showing holes for feathers is still preserved. It is from the tomb of Amen-hotep, of the 18th dynasty, 17th century &lt;small&gt;B&lt;/small&gt;.&lt;small&gt;C&lt;/small&gt;. In India fans were also attributes of men in authority, and sometimes sacred emblems. A heartshaped fan, with an ivory handle, of unknown age, and held in great veneration by the Hindus, was given to the prince of Wales. Large punkahs or screens, moved by a servant who does nothing else, are in common use by Europeans in India at this day.

Fans were used in the early Middle Ages to keep flies from the sacred elements during the celebrations of the Christian mysteries. Sometimes they were round, with bells attached — of silver, or silver gilt. Notices of such fans in the ancient records of St Paul’s, London, Salisbury cathedral, and many other churches, exist still. For these purposes they are no longer used in the Western church, though they are retained in some Oriental rites. The large feather fans, however, are still carried in the state processions of the supreme pontiff in Rome, though not used during the celebration of the mass. The fan of Queen Theodolinda (7th century) is still preserved in the treasury of the cathedral of Monza. Fans made part of the bridal outfit, or ''mundus muliebris'', of ancient Roman ladies.

Folding fans had their origin in Japan, and were imported thence to China. They were in the shape still used—a segment of a circle of paper pasted on a light radiating frame-work of bamboo, and variously decorated, some in colours, others of white paper on which verses or sentences are written. It is a compliment in China to invite a friend or distinguished guest to write some sentiment on your fan as a memento of any special occasion, and this practice has continued. A fan that has some celebrity in France was presented by the Chinese ambassador to the Comtesse de Clauzel at the coronation of Napoleon I. in 1804. When a site was given in 1635, on an artificial island, for the settlement of Portuguese merchants in Nippo in Japan, the space was laid out in the form of a fan as emblematic of an object agreeable for general use. Men and women of every rank both in China and Japan carry fans, even artisans using them with one hand while working with the other. In China they are often made of carved ivory, the sticks being plates very thin and sometimes carved on both sides, the intervals between the carved parts pierced with astonishing delicacy, and the plates held together by a ribbon. The Japanese make the two outer guards of the stick, which cover the others, occasionally of beaten iron, extremely thin and light, damascened with gold and other metals.

Fans were used by Portuguese ladies in the 14th century, and were well known in England before the close of the reign of Richard II. In France the inventory of Charles V. at the end of the 14th century mentions a folding ivory fan. They were brought into general use in that country by Catherine de’ Medici, probably from Italy, then in advance of other countries in all matters of personal luxury. The court ladies of Henry VIII.’s reign in England were used to handling fans, A lady in the Dance of Death by Holbein holds a fan. Queen Elizabeth is painted with a round leather fan in her portrait at Gorhambury; and as many as twenty-seven are enumerated in her inventory (1606). Coryat, an English traveller, in 1608 describes them as common in Italy. They also became of general use from that time in Spain. In Italy, France, and Spain fans had special conventional uses, and various actions in handling them grew into a code of signals, by which ladies were supposed to convey hints or signals to admirers or to rivals in society. A paper in the ''Spectator'' humorously  proposes to establish a regular drill for these purposes.

The chief seat of the European manufacture of fans during the 17th century was Paris, where the sticks or frames, whether of wood or ivory, were made, and the decorations painted on mounts of very carefully prepared vellum (called latterly ''chicken skin'', but not correctly), — a material stronger and tougher than paper, which breaks at the folds. Paris makers exported fans unpainted to Madrid and other Spanish cities, where they were decorated by native artists. Many were exported complete; of old fans called Spanish a great number were in fact made in France. Louis XIV. issued edicts at various times to regulate the manufacture. Besides fans mounted with parchment, Dutch fans of ivory were imported into Paris, and decorated by the heraldic painters in the process called “Vernis Martin,” after a famous carriage painter and inventor of colourless lac varnish. Fans of this kind belonging to the Queen and to the late baroness de Rothschild were exhibited in 1870 at Kensington. A fan of the date of 1660, representing sacred subjects, is attributed to Philippe de Champagne, another to Peter Oliver in England in the / 17th century. Cano de Arevalo, a Spanish painter of the 17th century devoted himself to fan painting. Some harsh expressions of Queen Christina to the young ladies of the French court are said to have caused an increased ostentation in the splendour of their fans, which were set with jewels and mounted in gold. Rosalba Carriera was the name of a fan painter of celebrity in the 17th century. Lebrun and Romanelli were much employed during the same period. Klingstet, a Dutch artist, enjoyed a considerable reputation for his fans from the latter part of the 17th and the first thirty years of the 18th century.

The revocation of the edict of Nantes drove many fan-makers out of France to Holland and England. The trade in England was well established under the Stuart sovereigns. Petitions were addressed by the fan-makers to Charles II. against the importation of fans from India, and a duty was levied upon such fans in consequence. This importation of Indian fans, according to Savary, extended also to France. During the reign of Louis XV. carved Indian and China fans displaced to some extent those formerly imported from Italy, which had been painted on swanskin parchment prepared with various perfumes.

During the 18th century all the luxurious ornamentation of the day was bestowed on fans as far as they could display it. The sticks were made of mother-of-pearl or ivory, carved with extraordinary skill in France, Italy, England, and other countries. They were painted from designs of Boucher, Watteau, Lancret, and other &quot;genre&quot; painters, Hébert, Rau, Chevalier, Jean Boquet, Mad. Verité, are known as fan painters. These fashions were followed in most countries of Europe, with certain national differences. Taffeta and silk, as well as fine parchment, were used for the mounts. Little circles of glass were let into the stick to be looked through, and small telescopic glasses were sometimes contrived at the pivot of the stick. They were occasionally mounted with the finest point lace. An interesting fan (belonging to Madame de Thiac in France), the work of Le Flamand, was presented by the municipality of Dieppe to Marie Antoinette on the birth of her son the dauphin. From the time of the Revolution the old luxury expended on fans died out. Fine examples ceased to be exported to England and other countries. The painting on them represented scenes or personages connected with political events. At a later period fan mounts were often prints coloured by hand. The events of the day mark the date of many examples found in modern collections. Amongst the fanmakers of the present time the names of Alexandre, Duvelleroy, Fayet, Vanier, may be mentioned as well known in Paris. The sticks are chiefly made in the department of Oise, at Le Déluge, Crèvecœur, Méry, Ste Geneviève, and other villages, where whole families are engaged in preparing them; ivory sticks are carved at Dieppe. Water-colour painters of distinction often design and paint the mounts, the best designs being figure subjects. A great impulse has been given to the manufacture and painting of fans in England since the exhibition which took place at South Kensington in 1870. Other exhibitions have since been held, and competitive prizes offered, one of which was gained by the Princess Louise. Modern collections of fans take their date from the emigration of many noble families from France at the time of the Revolution. Such objects were given as souvenirs and occasionally sold by families in straitened circumstances. A large number of fans of all sorts, principally those of the 18th century, French, English, German, Italian Spanish, &amp;c., have been lately bequeathed to the South Kensington Museum.

Regarding the different parts of folding fans it may be well to state that the sticks are called in French ''brins'', the two outer guards ''panaches'', and the mount ''feuille''.&lt;ref&gt;J. H. Pollen [J.H.P.]. &quot;Fan.&quot; ''Encyclopaedia Britannica'', 9th Edition (1875–1889). Vol. '''10''' ('''X'''). Adam and Charles Black (Publisher). https://archive.org/details/encyclopaedia-britannica-9ed-1875/Vol%209%20%28FAL-FYZ%29%20193323016.23/page/26/mode/2up (accessed January 2023): 27, Col. 1b – 28, Col. 1c.&lt;/ref&gt;&lt;/blockquote&gt;Folding fans were available and popular early and are common accessories in portraits of fashionable women through the centuries.

== Costumes for Theatre and Fancy Dress ==
Fancy-dress (or costume) balls were popular and frequent in the U.K. and France as well as the rest of Europe and North America during the 19th century. The themes and styles of the fancy-dress balls influenced those that followed. 

At the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]], the guests came dressed in costume from times before 1820, as instructed on '''the invitation''', but their clothing was much more about late-Victorian standards of beauty and fashion than the standards of whatever time period the portraits they were copying or basing their costumes on. 

=== Fancy Dress ===
In her ''Magnificent Entertainments: Fancy Dress Balls of Canada's Governors General, 1876-1898'', Cynthia Cooper describes the resources available to those needing help making a costume for a fancy-dress ball:&lt;blockquote&gt;There were a number of places eager ballgoers could turn for assistance and inspiration. Those with a scholarly bent might pore over history books or study pictures of paintings or other works of art. For more direct advice, one could turn to the barrage of published information specifically on fancy dress. Women’s magazines such as ''Godey’s Lady’s Book'' and ''The Englishwoman’s Domestic Magazine'' sometimes featured fancy dress designs and articles, and enticing specialized books were available with extensive recommendations for choosing fancy dress. By far the most complete sources were the books by [[Social Victorians/People/Ardern Holt|Ardern Holt]], a prolific British authority on the subject. Holt’s book for women, ''Fancy Dresses Described, or What to Wear at Fancy Balls'' (published in six editions between 1879 and 1896), began with the query, ‘‘But what are we to wear?” Holt’s companion book, ''Gentlemen’s Fancy Dress:'' ''How to Choose It'', was also published in six editions from 1882 to 1905. Other prominent authorities included Mrs. Aria’s ''Costume: Fanciful, Historical, and Theatrical'' and, in the US, the Butterick Company’s ''Masquerade and Carnival: Their Customs and Costumes''. The Butterick publication relied heavily on Holt, copying large sections of the introduction outright and paraphrasing other sections.&lt;ref name=&quot;:16&quot;&gt;Cooper, Cynthia. ''Magnificent entertainments: fancy dress balls of Canada's Governors General, 1876-1898''.Fredericton, N.B.; Hull, Quebec: Goose Lane Editions and Canadian Museum of Civilization, 1997. Internet Archive https://archive.org/details/magnificententer0000coop/.&lt;/ref&gt; (28–29)&lt;/blockquote&gt;Cynthia Cooper discusses how &quot;historical accuracy&quot; works in historical fiction and historical dress: &lt;blockquote&gt;A seemingly accurate costume and coiffure bespoke a cultured individual whose most gratifying compliment would be “historically correct.” Those who were fortunate enough to own actual clothing from an earlier period might wear it with pride as a historical relic, though they would generally adapt or remake it in keeping with the aesthetics of their own period. Historical accuracy was always in the eye of beholders inclined to overlook elements of current fashion in a historical costume. Theatre had long taught the public that if a costume appeared tasteful and attractive, it could be assumed to be accurate. Even at Queen Victoria’s fancy dress balls, costume silhouette was always far more like the fashionable dress of the period than of the time portrayed. For this reason, many extant eighteenth-century dresses show evidence of extensive alterations done in the nineteenth century, no doubt for fancy dress purposes.&lt;ref name=&quot;:16&quot; /&gt; (25) &lt;/blockquote&gt;The newspaper ''The Queen'' published dress and fashion information and advice under the byline of [[Social Victorians/People/Ardern Holt|Ardern Holt]], who regularly answered questions from readers about fashion as well as about fancy dress. Holt also wrote entire articles with suggestions for what might make an appealing fancy-dress costume as well as pointing readers away from costumes that had been worn too frequently. The suggestions for costumes are based on familiar types or portraits available to readers, similar to Holt's books on fancy dress, which ran through a number of editions in the 1880s and 1890s. Fancy-dress questions sometimes asked for details about costumes worn in theatrical or operatic productions, which Holt provides. 

In November 1897, Holt refers to the Duchess of Devonshire's 2 July ball: &quot;Since the famous fancy ball, given at Devonshire House during this year, historical fancy dresses have assumed a prominence that they had not hitherto known.&quot;&lt;ref&gt;Holt, Ardern. &quot;Fancy Dress a la Mode.&quot; The ''Queen'' 27 November 1897, Saturday: 94 [of 145 in BNA; print p. 1026], Col. 1a [of 3]. ''British Newspaper Archive''  https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18971127/459/0094.&lt;/ref&gt; Holt goes on to provide a number of ideas for costumes for historical fancy dress, as always with a strong leaning toward Victorian standards of beauty and style and away from any concern for historical accuracy.

As Leonore Davidoff says, &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove and other elaboration symbolised some status category for the female wearer.&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} [handled under Elaborations]

=== Historical Accuracy ===
Many of the costumes at the ball were based on portraits, especially when the guest was dressed as a historical figure. If possible, we have found the portraits likely to have been the originals, or we have found, if possible, portraits that show the subjects from the two time periods at similar ages.

The way clothing was cut changed quite a bit between the 18th and 19th centuries. We think of Victorian clothing — particularly women's clothing, and particularly at the end of the century — as inflexible and restrictive, especially compared to 20th- and 21st-century customs permitting freedom of movement. The difference is generally evolutionary rather than absolute — that is, as time has passed since the 18th century, clothing has allowed an increasingly greater range of movement, especially for people who did not do manual labor.

By the end of the 19th century, garments like women's bodices and men's coats were made fitted and smooth by attention to the grain of the fabric and by the use of darts (rather than techniques that assembled many small, individual pieces of fabric).

* clothing construction and flat-pattern techniques
* Generally, the further back in time we go, the more 2-dimensional the clothing itself was.

==== Women's Versions of Historical Accuracy at the Ball ====
As always with this ball, whatever historical accuracy might be present in a woman's costume is altered so that the wearer is still a fashionable Victorian lady. What makes the costumes look &quot;Victorian&quot; to our eyes is the line of the silhouette caused by the foundation undergarments as well as the many &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}}, mostly in the decorations, trim and accessories. 

Also, the clothing hangs and drapes differently because the fabric was cut on grain and the shoulders were freed by the way the sleeves were set in. 

==== Men's Versions of Historical Accuracy at the Ball ====
Because men were not wearing a Victorian foundation garment at the end of the century, the men's costumes at the ball are more historically accurate in some ways.

* Trim
* Mixing neck treatments
* Hair
* Breeches
* Shoes and boots
* Military uniforms, arms, gloves, boots

== Feathers and Plumes ==

=== Aigrette ===
Elizabeth Lewandowski defines ''aigrette'' as &quot;France. Feather or plume from an egret or heron.&quot;&lt;ref name=&quot;:7&quot; /&gt;(5) Sometimes the newspapers use the term to refer to an accessory (like a fan or ornament on a hat) that includes such a feather or plume. The straight and tapered feathers in an aigrette are in a bundle.

=== Prince of Wales's Feathers or White Plumes ===
The feathers in an aigrette came from egrets and herons; Prince of Wales's feathers came from ostriches. A fuller discussion of Prince of Wales's feathers and the white ostrich plumes worn at court appears on [[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|Victorian Things]].

For much of the late 18th and 19th centuries, white ostrich plumes were central to fashion at court, and at a certain point in the late 18th century they became required for women being presented to the monarch and for their sponsors. Our purpose here is to understand why women were wearing plumes at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] as part of their costumes.

First published in 1893, [[Social Victorians/People/Lady Colin Campbell|Lady Colin Campbell]]'s ''Manners and Rules of Good Society'' (1911 edition) says that&lt;blockquote&gt;It was compulsory for both Married and Unmarried Ladies to Wear Plumes. The married lady’s Court plume consisted of three white feathers. An unmarried lady’s of two white feathers. The three white feathers should be mounted as a Prince of Wales plume and worn towards the left hand side of the head. Colored feathers may not be worn. In deep mourning, white feathers must be worn, black feathers are inadmissible.

White veils or lace lappets must be worn with the feathers. The veils should not be longer than 45 inches.&lt;ref&gt;{{Cite web|url=https://www.edwardianpromenade.com/etiquette/the-court-presentation/|title=The Court Presentation|last=Holl|first=Evangeline|date=2007-12-07|website=Edwardian Promenade|language=en-US|access-date=2022-12-18}} https://www.edwardianpromenade.com/etiquette/the-court-presentation/.&lt;/ref&gt;&lt;/blockquote&gt;[[Social Victorians/Victorian Things#Ostrich Feathers and Prince of Wales's Feathers|This fashion was imported from France]] in the mid 1770s.&lt;ref&gt;&quot;Abstract&quot; for Blackwell, Caitlin. &quot;'&lt;nowiki/&gt;''The Feather'd Fair in a Fright''': The Emblem of the Feather in Graphic Satire of 1776.&quot; ''Journal for Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. ''Wiley Online'' DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x (accessed November 2022).&lt;/ref&gt;

Separately, a secondary heraldic emblem of the Prince of Wales has been a specific arrangement of 3 ostrich feathers in a gold coronet&lt;ref&gt;{{Cite journal|date=2022-11-07|title=Prince of Wales's feathers|url=https://en.wikipedia.org/w/index.php?title=Prince_of_Wales%27s_feathers&amp;oldid=1120556015|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Prince_of_Wales's_feathers.&lt;/ref&gt; since King Edward III (1312–1377&lt;ref&gt;{{Cite journal|date=2022-12-14|title=Edward III of England|url=https://en.wikipedia.org/w/index.php?title=Edward_III_of_England&amp;oldid=1127343221|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Edward_III_of_England.&lt;/ref&gt;).

Some women at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] wore white ostrich feathers in their hair, but most of them are not Prince of Wales's feathers. Most of the plumes in these portraits are arrangements of some kind of headdress to accompany the costume. A few, wearing what looks like the Princes of Wales's feathers, might be signaling that their character is royal or has royal ancestry. '''One of the women [which one?] was presented to the royals at this ball?'''

Here is the list of women who are wearing white ostrich plumes in their portraits in the [[Social Victorians/1897 Fancy Dress Ball/Photographs|''Diamond Jubilee Fancy Dress Ball'' album of 286 photogravure portraits]]:

# Kathleen Pelham-Clinton, the [[Social Victorians/People/Newcastle|Duchess of Newcastle]]
# [[Social Victorians/People/Louisa Montagu Cavendish|Luise Cavendish]], the Duchess of Devonshire
# Jesusa Murrieta del Campo Mello y Urritio (née Bellido), [[Social Victorians/People/Santurce|Marquisa de Santurce]]
# Lady [[Social Victorians/People/Farquhar|Emilie Farquhar]]
# Princess (Laura Williamina Seymour) Victor of  [[Social Victorians/People/Gleichen#Laura%20Williamina%20Seymour%20of%20Hohenlohe-Langenburg|Hohenlohe Langenburg]]
# Louisa Acheson, [[Social Victorians/People/Gosford|Lady Gosford]]
# Alice Emily White Coke, [[Social Victorians/People/Leicester|Viscountess Coke]]
# Lady Mary Stewart, Helen Mary Theresa [[Social Victorians/People/Londonderry|Vane-Tempest-Stewart]]
#[[Social Victorians/People/Consuelo Vanderbilt Spencer-Churchill|Consuelo Vanderbilt Spencer-Churchill]], Duchess of [[Social Victorians/People/Marlborough|Marlborough]], dressed as the wife of the French Ambassador at the Court of Catherine of Russia (not white, but some color that reads dark in the black-and-white photograph)
#Mrs. Mary [[Social Victorians/People/Chamberlain|Chamberlain]] (at 491), wearing white plumes, as Madame d'Epinay
#Lady Clementine [[Social Victorians/People/Tweeddale|Hay]] (at 629), wearing white plumes, as St. Bris (''Les Huguenots'')
#[[Social Victorians/People/Meysey-Thompson|Lady Meysey-Thompson]] (at 391), wearing white plumes, as Elizabeth, Queen of Bohemia
#Mrs. [[Social Victorians/People/Grosvenor|Algernon (Catherine) Grosvenor]] (at 510), wearing white plumes, as Marie Louise
#Lady [[Social Victorians/People/Ancaster|Evelyn Ewart]], at 401), wearing white plumes, as the Duchess of Ancaster, Mistress of the Robes to Queen Charlotte, 1757, after a picture by Hudson
#[[Social Victorians/People/Lyttelton|Edith Sophy Balfour Lyttelton]] (at 580), wearing what might be white plumes on a large-brimmed white hat, after a picture by Romney
#[[Social Victorians/People/Yznaga|Emilia Yznaga]] (at 360), wearing what might be white plumes, as Cydalise of the Comedie Italienne from the time of Louis XV
#Lady [[Social Victorians/People/Ilchester|Muriel Fox Strangways]] (at 403), wearing what might be two smallish white plumes, as Lady Sarah Lennox, one of the bridesmaids of Queen Charlotte A.D. 1761
#Lady [[Social Victorians/People/Lucan|Violet Bingham]] (at 586), wearing perhaps one white plume in a headdress not related to the Prince of Wales's feathers
#Rosamond Fellowes, [[Social Victorians/People/de Ramsey|Lady de Ramsey]] (at 329), wearing a headdress that includes some white plumes, as Lady Burleigh
#[[Social Victorians/People/Dupplin|Agnes Blanche Marie Hay-Drummond]] (at 682), in a big headdress topped with white plumes, as Mademoiselle Andrée de Taverney A.D. 1775
#Florence Canning, [[Social Victorians/People/Garvagh|Lady Garvagh]] (at 336), wearing what looks like Prince of Wales's plumes
#[[Social Victorians/People/Suffolk|Marguerite Hyde &quot;Daisy&quot; Leiter]] (at 684), wearing what looks like Prince of Wales's plumes
#Lady [[Social Victorians/People/Spicer|Margaret Spicer]] (at 281), wearing one smallish white and one black plume, as Countess Zinotriff, Lady-in-Waiting to the Empress Catherine of Russia
#Mrs. [[Social Victorians/People/Cavendish Bentinck|Arthur James]] (at 318), wearing what looks like Prince of Wales's plumes, as Elizabeth Cavendish, daughter of Bess of Hardwick
#Nellie, [[Social Victorians/People/Kilmorey|Countess of Kilmorey]] (at 207), wearing three tall plumes, 2 white and one dark, as Comtesse du Barri
#Daisy, [[Social Victorians/People/Warwick|Countess of Warwick]] (at 53), wearing at least 1 white plume, as Marie Antoinette

More men than women were wearing plumes reminiscent of the Prince of Wales's feathers:

*

==== Bibliography for Plumes and Prince of Wales's Feathers ====
* Blackwell, Caitlin. &quot;'''The Feather'd Fair in a Fright'&lt;nowiki/&gt;'': The Emblem of the Feather in Graphic Satire of 1776.&quot; Journal for ''Eighteenth-Century Studies'' 20 January 2013 (Vol. 36, Issue 3): 353-376. Wiley Online DOI: https://doi.org/10.1111/j.1754-0208.2012.00550.x.
* &quot;Prince of Wales's feathers.&quot; ''Wikipedia'' https://en.wikipedia.org/wiki/Prince_of_Wales%27s_feathers (accessed November 2022). ['''Add women to this page''']
* Simpson, William. &quot;On the Origin of the Prince of Wales' Feathers.&quot; ''Fraser's magazine'' 617 (1881): 637-649. Hathi Trust https://babel.hathitrust.org/cgi/pt?id=chi.79253140&amp;view=1up&amp;seq=643&amp;q1=feathers (accessed December 2022). Deals mostly with use of feathers in other cultures and in antiquity; makes brief mention of feathers and plumes in signs and pub names that may not be associated with the Prince of Wales. No mention of the use of plumes in women's headdresses or court dress.

== Honors ==

=== The Bath ===
The Most Honourable Order of the Bath (GCB, Knight or Dame Grand Cross; KCB or DCB, Knight or Dame Commander; CB, Companion)

=== The Garter ===
The Most Noble Order of the Knights of the Garter (KG, Knight Companion; LG, Lady Companion)

[[File:The Golden Fleece - collar exhibited at MET, NYC.jpg|thumb|The Golden Fleece collar and pendant for the 2019 &quot;Last Knight&quot; exhibition at the MET, NYC.|alt=Recent photograph of a gold necklace on a wide band, with a gold skin of a sheep hanging from it as a pendant]]
=== The Golden Fleece ===
To wear the golden fleece is to wear the insignia of the Order of the Golden Fleece, said to be &quot;the most prestigious and historic order of chivalry in the world&quot; because of its long history and strict limitations on membership.&lt;ref name=&quot;:10&quot;&gt;{{Cite journal|date=2020-09-25|title=Order of the Golden Fleece|url=https://en.wikipedia.org/w/index.php?title=Order_of_the_Golden_Fleece&amp;oldid=980340875|journal=Wikipedia|language=en}}&lt;/ref&gt; The monarchs of the U.K. were members of the originally Spanish order, as were others who could afford it, like the Duke of Wellington,&lt;ref name=&quot;:12&quot;&gt;Thompson, R[obert]. H[ugh]. &quot;The Golden Fleece in Britain.&quot; Publication of the ''British Numismatic Society''. 2009 https://www.britnumsoc.org/publications/Digital%20BNJ/pdfs/2009_BNJ_79_8.pdf (accessed January 2023).&lt;/ref&gt; the first Protestant to be admitted to the order.&lt;ref name=&quot;:10&quot; /&gt; Founded in 1429/30 by Philip the Good, Duke of Burgundy, the order separated into two branches in 1714, one Spanish and the other Austrian, still led by the House of Habsburg.&lt;ref name=&quot;:10&quot; /&gt;

[[File:Prince Albert - Franz Xaver Winterhalter 1842.jpg|thumb|1842 Winterhalter portrait of Prince Albert wearing the insignia of the Order of the Golden Fleece, 1842|left|alt=1842 Portrait of Prince Albert by Winterhalter, wearing the insignia of the Golden Fleece]]
The photograph (upper right) is of a Polish badge dating from the &quot;turn of the XV and XVI centuries.&quot;&lt;ref&gt;{{Citation|title=Polski:  Kolana orderowa orderu Złotego Runa, przełom XV i XVI wieku.|url=https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg|date=2019-11-10|accessdate=2023-01-10|last=Wulfstan}}. https://commons.wikimedia.org/wiki/File:The_Golden_Fleece_-_collar_exhibited_at_MET,_NYC.jpg.&lt;/ref&gt; The collar to this Golden Fleece might be similar to the one the [[Social Victorians/People/Spencer Compton Cavendish#The Insignia of the Order of the Golden Fleece|Duke of Devonshire is wearing in the 1897 Lafayette portrait]].

The badges and collars that Knights of the Order actually wore vary quite a bit.

The 1842 Franz Xaver Winterhalter portrait (left) of Prince Consort Albert, Victoria's husband and father of the Prince of Wales, shows him wearing the Golden Fleece on a red ribbon around his neck and the star of the Garter on the front of his coat.&lt;ref&gt;Winterhalter, Franz Xaver. ''Prince Albert''. {{Cite web|url=https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61|title=Explore the Royal Collection Online|website=www.rct.uk|access-date=2023-01-16}} https://www.rct.uk/collection/search#/16/collection/401412/prince-albert-1819-61.&lt;/ref&gt;

=== Royal Victorian Order ===
(GCVO, Knight or Dame Grand Cross; KCVO or DCVO, Knight or Dame Commander; CVO, Commander; LVO, Lieutenant; MVO, Member)

=== St. John ===
The Order of the Knights of St. John

=== Star of India ===
Most Exalted Order of the Star of India (GCSI, Knight Grand Commander; KCSI, Knight Commander; CSI, Companion)

=== Thistle ===
The Most Ancient and Most Noble Order of the Thistle

== Hoops ==
'''This section is under construction right now'''.

Over the 19th century fashionable shapes for women's skirts — and their bodies — evolved ever more quickly, and sometimes several distinct silhouettes were fashionable at the same time. This evolution occurred as a result of changes in a number of large cultural factors:

#what was most fashionable changed over time, and the speed with which those changes occurred accelerated, which is associated with technological developments, the materials for clothing and foundations and the technologies for creating them
#* Over the course of the century, the materials that hoops were made of evolved, to include whalebone (cartilage), cane, iron and steel bands or wire as well as, apparently, sometimes rubber elastic.&lt;ref name=&quot;:19&quot; /&gt; The evolution caused the hoops to become lighter and smoother. The cage also stopped the movement of fullness in skirts to the back.
#* grommets
#* the various materials used to make hoops
#* sewing machines
#* machines to make lace
#* aniline dyes
#relationship between fashion and social class: changes in conditions for women as social classes developed and increased wealth among the growing oligarchy, the needs among middle- and working-class women for freedom of movement and safety from fires
#*role of elites in controlling (sumptuary laws)
#*setting the style (Marie Antoinette)
#*development of the upper 10,000: expanding class of elite to include larger upper middle class, expanding aristocracy, growing oligarchy, internationalization of aristocracy and oligarchy, to include European royals seeking shelter in the U.K., American heiresses admitted into British aristocracy
#*role of Victoria as queen, leader of one branch of the aristocracy, her domesticity, her sense of style
#*fashion began to move down the social classes so that hoops (and, for example, top hats) were worn by people in the middle and sometimes working classes
#Impact of fashion on women's mobility, women's rights
#evolutionary process in the development of hoops: not discrete structures but over the centuries one leads to another
Terms: farthingale, panniers, hoops, crinoline, cage, bustle

Between 1450 and 1550 a loosely woven, very stiff fabric made from linen and horsehair was used in &quot;horsehair petticoats.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|137}} Heavy and scratchy, these petticoats made the fabric of the skirt lie smooth, without wrinkles or folds. Over time, this horsehair fabric was used in several kinds of objects made from fabric, like hats and padding for poufs, but it is best known for its use in the structure of hoops, or cages. Horsehair fabric was used until the mid-19th century, when it  was called ''crinoline'' and used for petticoats again (1840–1865).&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} We still call this fabric ''crinoline''.

''Hoops'' is a mid-19th-century term for a cage-like structure worn by a woman to hold her skirts away from her body. The term ''cage'' is also 19th century, and ''crinoline'' is sometimes used in a non-technical way for 19th-century cages as well. Both these terms are commonly used now for the general understructure of a woman's skirts, but they are not technically accurate for time periods before the 19th century.

As fashion, that cage-like structure was the foundation undergarment for the bottom half of a woman's body, for a skirt and petticoat, and created the fashionable silhouette from the 15th through the late 19th century. The 16th-century Katherine of Aragon is credited with making hoops popular outside Spain for women of the elite classes. By the end of the 16th century France had become the arbiter of fashion for the western world, and it still is. The cage is notable for how long it lasted in fashion and for its complex evolution.

Together with the [[Social Victorians/Terminology#Corsets|corset]], the cage enabled all the changes in fashionable shapes, from the extreme distortions of 17th-and-18th-century panniers to the late 19th-century bustle. Early hoops circled the body in a bell, cone or drum shape, then were moved to the sides with panniers, then ballooned around the body like the top half of a sphere, and finally were pulled to the rear as a bustle. That is, the distorted shapes of high fashion were made possible by hoops. High fashion demanded these shapes, which disguised women's bodies, especially below the waist, while corsets did their work above it.

When hoops were first introduced in the 15th century, women's shoes for the first time differentiated from men's and became part of the fashionable look. In the periods when the skirts were flat in front (with the farthingale and in the transitional 17th century), they did not touch the floor, making shoes visible and important fashion accessories. Portraits of high-status, high-fashion women consistently show their pointy-toed shoes, which would have been more likely to show when they were moving than when they were standing still. The shoes seem to draw attention to themselves in these portraits, suggesting that they were important to the painters and, perhaps, the women as well.

In addition to the shape, the materials used to make hoops evolved — from cane and wood to whalebone, then steel bands and wire. Initially fabric strips, tabs or ribbons were the vertical elements in the cages and evolved into channels in a linen, muslin or, later, crinoline underskirt encasing wires or bands. Fabrics besides crinoline —  like cotton, silk and linen — were used to connect the hoops and bands in cages. All of these materials used in cages had disadvantages and advantages. 

=== Disadvantages and Advantages ===
Hoops affected the way women were able to move. ['''something about riding'''?]

==== Disadvantages ====
the weight, getting through doorways, sitting, the wind, getting into carriages, what the dances involved. Raising '''one's''' skirts to climb stairs or walk was more difficult with hoop. 

['''Contextualize with dates?'''] &quot;The combination of corset, bustle, and crinolette limited a woman's ability to bend except at the hip joint, resulting in a decorous, if rigid, sense of bearing.&quot;&lt;ref&gt;Koda, Harold. ''Extreme Beauty: The Body Transformed.'' The Metropolitan Museum of Art, 2001.&lt;/ref&gt; (130) 

As caricatures through the centuries makes clear, one disadvantage hoops had is that they could be caught by the wind, no matter what the structure was made of or how heavy it was. 

In her 1941 ''Little Town on the Prairie'', Laura Ingalls Wilder writes a scene in which Laura's hoops have crept up under skirts because of the wind. Set in 1883,&lt;ref&gt;Hill, Pamela Smith, ed. ''Pioneer Girl: The Annotated Autobiography''.&lt;/ref&gt; this very unusual scene shows a young woman highly skilled at getting her hoops back down without letting her undergarments show. The majority of European and North American women wore hoops in 1883, but to our knowledge no other writer from this time describes any solution to the problem of the wind under hoops or, indeed, a skill like Laura's. &lt;blockquote&gt;“Well,” Laura began; then she stopped and spun round and round, for the strong wind blowing against her always made the wires of her hoop skirt creep slowly upward under her skirts until they bunched around her knees. Then she must whirl around and around until the wires shook loose and spiraled down to the bottom of her skirts where they should be.

“As she and Carrie hurried on she began again. “I think it was silly, the way they dressed when Ma was a girl, don’t you? Drat this wind!” she exclaimed as the hoops began creeping upward again.

“Quietly Carrie stood by while Laura whirled. “I’m glad I’m not old enough to have to wear hoops,” she said. “They’d make me dizzy.”

“They are rather a nuisance,” Laura admitted. “But they are stylish, and when you’re my age you’ll want to be in style.”&lt;ref&gt;Wilder, Laura Ingalls. ''Little Town on the Prairie.'' Harper and Row, 1941. Pp. 272–273.&lt;/ref&gt;&lt;/blockquote&gt;The 16-year-old Laura makes the comment that she wants to be in style, but she lives on the prairie in the U.S., far from a large city, and would not necessarily wear the latest Parisian style, although she reads the American women's domestic and fashion monthly ''[[Social Victorians/Newspapers#Godey's Lady's Book|Godey's Lady's Book]]'' and would know what was stylish.

==== '''Advantages''' ====
The '''weight''' of hoops was somewhat corrected over time with the use of steel bands and wires, as they were lighter than the wood, cane or whalebone hoops, which had to be thick enough to keep their shape and to keep from breaking or folding under the weight of the petticoats and skirts. Full skirts made women's waists look smaller, whether by petticoats or hoops. Being fashionable, being included among the smart set.

The hoops moved the skirts away from the legs and feet, making moving easier. 

By moving the heavy petticoats and skirts away from their legs, hoops could actually give women's legs and feet more freedom to move.

Because so few fully constructed hoop foundation garments still exist, we cannot be certain of a number of details about how exactly they were worn. For example, the few contemporary drawings of 19th-century hoops show bloomers beneath them but no petticoats. However, in the cold and wind (and we know from Laura Ingalls Wilder how the wind could get under hoops), women could have added layers of petticoats beneath their hoops for warmth.[[File:Chaise à crinolines.jpg|thumb|Chaise à Crinolines, 19th century]]
=== Accommodation ===
Hoops affected how women sat, and furniture was developed specifically to accommodate these foundation structures. The ''chaise à crinolines'' or chair for hoop skirts (right), dating from the 2nd half of the 19th century, has a gap between the seat and the back of the chair to keep her undergarments from showing as she sat, or even seated herself, and to reduce wrinkling of the fabric by accommodating her hoops, petticoats and skirts.[[File:Vermeer Lady Seated at a Virginal.jpg|thumb|Vermeer, Lady Seated at a Virginal|left]]Vermeer's c. 1673 ''Lady Seated at a Virginal'' (left) looks like she is sitting on this same kind of chair, suggesting that furniture like this had existed long before the 19th century. Vermeer's painting shows how the chair could accommodate her hoops and the voluminous fabric of her skirts.

The wide doorways between the large public rooms in the Palace of Versailles could accommodate wide panniers. '''Louis XV and XVI of France occupied an already-built Versailles, but they both renovated the inside over time'''.

Some configurations of hoops permitted folding, and of course the width of the hoops themselves varied over time and with the evolving styles and materials.

With hoops, skirts moved away from the legs and feet, and when skirts got shorter, to above the floor, women's feet had nearly unrestricted freedom to move. Evening gowns, with trains, were still restrictive.

A modern accommodation are the leaning boards developed in Hollywood for women wearing period garments like corsets and long, full skirts. The leaning boards allowed the actors to rest without sitting and wrinkling their clothes.[[File:Pedro García de Benabarre St John Retable Detail.jpg|thumb|alt=Old oil painting of a woman wearing a dress from the 1400s holding the decapitated head of a man with a halo before a table of people at a dinner party|Pedro García de Benabarre, Detail from St. John Altarpiece, Showing Visible Hoops]]
=== Early Hoops ===
Hoops first appeared in Spain in the 15th century and influenced European fashion for at least 3 centuries.

A detail (right) from Pedro García de Benabarre's c. 1470 larger altarpiece painting shows women wearing a style of hoops that predates the farthingale but marks the beginning point of the development of that fashion. Salomé (holding John the Baptist's head) is wearing a dress with what looks like visible wooden hoops attached to the outside of the skirt, which also appears to have padding at the hips underneath it.

The clothing and hairstyles of the people in this painting are sufficiently realistic to offer details for analysis. The foundation garments the women are wearing are corsets and bum rolls. Because none still exist, we do not know how these hoops attached to the skirts or how they related structurally to the corset. The bottom hoop on Salomé's skirt rests on the ground, and her feet are covered. The women near her are kneeling, so not all their hoops show. 

The painter De Benabarre was &quot;active in Aragon and in Catalonia, between 1445–1496,&quot;&lt;ref&gt;{{Cite web|url=https://www.mfab.hu/artworks/10528/|title=Saint Peter|website=Museum of Fine Arts, Budapest|language=en-US|access-date=2024-12-11}} https://www.mfab.hu/artworks/10528/.&lt;/ref&gt; so perhaps he saw the styles worn by people like Katharine of Aragon, whose hoops are now called a farthingale.

=== Early Farthingale ===
In the 16th century, the foundation garment we call ''hoops'' was called a ''farthingale''. Elizabeth Lewandowski says that the metal supports (or structure) in the hoops were made of wire:&lt;blockquote&gt;''&quot;FARTHINGALE: Renaissance (1450-1550 C.E. to Elizabethan (1550-1625 C.E.). Linen underskirt with wire supports which, when shaped, produced a variety of dome, bell, and oblong shapes.&quot;&lt;ref name=&quot;:7&quot; /&gt;''{{rp|105}}&lt;/blockquote&gt;The French term for ''farthingale'' is ''vertugadin'' — &quot;un élément essentiel de la mode Tudor en Angleterre [an essential element of Tudor fashion in England].&quot;&lt;ref name=&quot;:0&quot;&gt;{{Cite journal|date=2022-03-12|title=Vertugadin|url=https://fr.wikipedia.org/w/index.php?title=Vertugadin&amp;oldid=191825729|journal=Wikipédia|language=fr}} https://fr.wikipedia.org/wiki/Vertugadin.&lt;/ref&gt; The French also called the farthingale a &quot;''cachenfant'' for its perceived ability to hide pregnancy,&quot;&lt;ref&gt;&quot;Clothes on the Shakespearean Stage.&quot; Carleton Production. Amazon Web Services. https://carleton-wp-production.s3.amazonaws.com/uploads/sites/84/2023/05/Clothes-on-the-Shakespearean-Stage_-1.pdf (retrieved April 2025).&lt;/ref&gt; not unreasonable given the number of portraits where the subject wearing a farthingale looks as if she might be pregnant. The term in Spanish is ''vertugado''. Nowadays clothing historians make clear distinctions among these terms, especially farthingale, bustle and hip roll, but the terminology then did not need to distinguish these garments from later ones.&lt;p&gt;

The hoops on the outsides of the skirts in the Pedro García de Benabarre painting (above right) predate what would technically be considered a vertugado.[[File:Alonso Sánchez Coello 011.jpg|thumb|alt=Old painting of a princess wearing a richly jeweled outfit|Alonso Sánchez Coello, Infanta Isabel Clara Eugenia Wearing a Vertugado, c. 1584]]

Blanche Payne says,&lt;blockquote&gt;Katherine of Aragon is reputed to have introduced the Spanish farthingale ... into England early in the [16th] century. The result was to convert the columnar skirt of the fifteenth century into the cone shape of the sixteenth.&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}}&lt;/blockquote&gt;

In fact, &quot;The Spanish princess Catherine of Aragon brought the fashion to England for her marriage to Prince Arthur, eldest son of Henry VII in 1501 [La princesse espagnole Catherine d'Aragon amena la mode en Angleterre pour son mariage avec le prince Arthur, fils aîné d'Henri VII en 1501].&quot;&lt;ref name=&quot;:0&quot; /&gt; Catherine of Aragon, of course, married Henry VIII after Arthur's death, then was divorced and replaced by Anne Boleyn.

Of England, Lewandowski says that &quot;Spanish influence had introduced the hoop-supported skirt, smooth in contour, which was quite generally worn.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|291}} That is, hoops were &quot;quite generally worn&quot; among the ruling and aristocratic classes in England, and may have been worn by some women among the wealthy bourgeoisie. Sumptuary laws addressed &quot;certain features of garments that are decorative in function, intended to enhance the silhouette&quot;&lt;ref&gt;{{Cite journal|date=2025-02-22|title=Sumptuary law|url=https://en.wikipedia.org/wiki/Sumptuary_law|journal=Wikipedia|language=en}}&lt;/ref&gt; and signified wealth and status, but they were generally not very successful and not enforced well or consistently. (Sumptuary laws &quot;attempted to regulate permitted consumption, especially of clothing, food and luxury expenditures&quot;&lt;ref&gt;{{Cite journal|date=2024-09-27|title=sumptuary law|url=https://en.wiktionary.org/wiki/sumptuary_law|journal=Wiktionary, the free dictionary|language=en}}&lt;/ref&gt; in order to mark class differences and, for our purposes, to use fashion to control women and the burgeoning middle class.)

The Spanish vertugado shaped the skirt into an symmetrical A-line with a graduated series of hoops sewn to an undergarment. Alonso Sánchez Coello's c. 1584&lt;ref name=&quot;:11&quot; /&gt;{{rp|316}} portrait (right) shows infanta Isabel Clara Eugenia wearing a vertugado, with its &quot;typically Spanish smooth cone-shaped contour.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|315–316}}

The shoes do not show in the portraits of women wearing the Spanish cone-shaped vertugado. The round hoops stayed in place in front, even though the skirts might touch the floor, giving the women's feet enough room to take steps. 

By the end of the 16th century the French and Spanish farthingales had evolved separately and were no longer the same garment.[[File:Queen Elizabeth I ('The Ditchley portrait') by Marcus Gheeraerts the YoungerFXD.jpg|thumb|alt=Old oil painting of a queen in a white dress with shoulders and hips exaggerated by her dress|Marcus Gheeraerts the Younger, Queen Elizabeth I in a French Cartwheel Farthingale, 1592|left]]

The French vertugadin — a cartwheel farthingale — was a flat &quot;platter&quot; of hoops worn below the waist and above the hips. Once past the vertugadin, the skirt fell straight to the floor, into a kind of asymmetrical drum shape that was balanced by strict symmetry in the rest of the garment. The English Queen Elizabeth I is wearing a French drum-shaped farthingale in Marcus Gheeraerts the Younger's c. 1592 portrait (left).[[File:Hardwick Hall Portrait of Elizabeth I of England.jpg|thumb|Hilliard, Hardwick Hall Portrait of Elizabeth I of England, c. 1598–1599]]In Nicholas Hilliard's c. 1598–1599 portrait of Queen Elizabeth I (right), an extraordinary showing of jewels, pearls and embroidery from the top of her head to the tips of her toes make for a spectacular outfit. The drum of the cartwheel farthingale is closer to the body beneath the point of the bodice, and the underskirt is gathered up the sides of the foundation corset to where her natural waistline would be. The gathers flatten the petticoat from the point to the hem, and the fabric collected at the sides falls from the edge of the drum down to her ankles.

Associated with the cartwheel farthingale was a very long waist and a skirt slightly shorter in the front. A rigid corset with a point far below the waist and the downward-angled farthingale flattened the front of the skirt. Because the skirt in front over a cartwheel farthingale was closer to the woman's body and did not touch the floor, the dress flowed and the women's shoes showed as they moved. Almost all portraits of women wearing cartwheel farthingales show the little pointy toes of their shoes. In Gheeraerts' painting, Queen Elizabeth's feet draw attention to themselves, suggesting that showing the shoes was important.

Farthingales were heavy, and together with the rigid corsets and the construction of the dress (neckline, bodice, sleeves, mantle), women's movement was quite restricted. Although their feet and legs had the freedom to move under the hoops, their upper bodies were held in place by their foundation garments and their clothing, the sleeves preventing them from raising their arms higher than their shoulders. This restriction of the movement of their arms can be seen in Elizabethan court dances that included clapping. They clapped their hands beside their heads rather than over their heads.

The steady attempts in the sumptuary laws to control fine materials for clothing reveals the interest middle-class women had in wearing what the cultural elite were wearing at court.

=== The Transitional 17th Century ===
What had been starched and stiff in women's dress in the 16th century — like ruffs and collars — became looser and flatter in the 17th. This transitional period in women's clothing also introduced the [[Social Victorians/Terminology#Cavalier|Cavalier style of men's dress]], which began with the political movement in support of England's King Charles II while he was still living in France. Like the ones women wore, men's ruffs and collars were also no longer starched or wired, making them looser and flatter as well.

For much of the 17th century — beginning about 1620, according to Payne — skirts were not supported by the cage-like hoops that had been so popular.&lt;ref name=&quot;:11&quot; /&gt;{{rp|355}} Without structures like hoops, skirts draped loosely to the floor, but they did not fall straight from the waist. Except for dressing gowns (which sometimes appear in portraiture in spite of their informality), the skirts women wore were held away from the body by some kind of padding or stiffened roll around the waist and at the hips, sometimes flat in front, sometimes not. The skirts flowed from the hips, either straight down or in an A-line depending on the cut of the skirt.
[[File:The Vanity of Women Masks and Bustles MET DT4982.jpg|thumb|Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
==== Hip Rolls ====
This c. 1600 Dutch engraving attributed to Maerten de Vos (right) shows two servants dressing two wealthy women in masks and hip rolls. In its title of this engraving the Metropolitan Museum of Art calls a hip roll a ''bustle'' (which it defines as a padded roll or a French farthingale),&lt;ref&gt;De Vos, Maerten. &quot;The Vanity of Women: Masks and Bustles.&quot; Metropolitan Museum of Art. Wikimedia Commons 

https://commons.wikimedia.org/wiki/File:The_Vanity_of_Women_Masks_and_Bustles_MET_DT4982.jpg.&lt;/ref&gt; but the engraving itself calls it a ''cachenfant''.&lt;ref name=&quot;:20&quot;&gt;De Vos, Maerten (attrib. to). &quot;The Vanity of Women: Masks and Bustles.&quot; Circa 1600. ''The Costume Institute: The Metropolitan Museum of Art''. Object Number: 2001.341.1. https://www.metmuseum.org/art/collection/search/82615&lt;/ref&gt; The craftsmen in the back are wearing masks. The one on the left is making the masks that the shop sells, and the one on the right is making the hip rolls.

The serving woman on the left is fitting a mask on what is probably her mistress. The kneeling woman on the right is tying a hip roll on what is probably hers.

The text around the engraving is in French and Dutch. The French passages read as follows (clockwise from top left), with the word ''cachenfant'' (farthingale) bolded:&lt;blockquote&gt;
Orne moy auecq la masque laide orde et sale:
&lt;br&gt;Car laideur est en moy la beaute principale.

Achepte dame masques &amp; passement:
&lt;br&gt;Monstre vostre pauvre [?] orgueil hardiment.

Venez belles filles auecq fesses maigres:
&lt;br&gt;Bien tost les ferayie rondes &amp; alaigres.

Vn '''cachenfant''' come les autres me fault porter:
&lt;br&gt;Couste qu'il couste; le fol la folle veult aymer.

Voy cy la boutiquel des enragez amours,
&lt;br&gt;De vanite, &amp; d'orgueil &amp; d'autres tels tours:

D'ont plusieurs qui parent la chair puante,
&lt;br&gt;S'en vont auecq les diables en la gehenne ardante.

&lt;ref name=&quot;:20&quot; /&gt;&lt;/blockquote&gt;

Which translates, roughly, into
&lt;blockquote&gt;
Adorn me with the ugly, dirty, and orderly mask:
&lt;br&gt;For ugliness is the principal beauty in me.

Buy, lady, masks and trimmings:
&lt;br&gt;Boldly show your poor [?] pride.

Come, beautiful girls with thin buttocks:
&lt;br&gt;Soon, make them round and cheerful.

I must wear a [farthingale, lit. &quot;hide child&quot;] like the others:
&lt;br&gt;No matter how much it costs; the madman wants to love.

See here the store of rabid loves,
&lt;br&gt;Of vanity, and pride, and other such tricks:

Many of whom adorn the stinking flesh,
&lt;br&gt;Go with the devils to the burning hell.
&lt;/blockquote&gt;
[[File:The Vanity of Women Masks and Bustles MET DT4982 (detail of padded rolls or French farthingales).jpg|thumb|Detail of Maerten de Vos, ''The Vanity of Women: Masks and Bustles'', c. 1600]]
Traditionally thought of as padding, the hip rolls, at least in this detail of the c. 1600 engraving (right), are hollow and seem to be made cylindrical by what looks like rings of cane or wire sewn into channels. The kneeling woman is tying the strings that attach the hip roll, which is being worn above the petticoat and below the overskirt that the mistress is holding up and back. The hip roll under construction on the table looks hollow, but when they are finished the rolls look padded and their ends sewn closed.

Farthingales were more complex than is usually assumed. Currently, ''farthingale'' usually refers to the cane or wire foundation that shaped the skirt from about 1450 to 1625, although the term was not always used so precisely. Padding was sometimes used to shape the skirt, either by itself or in addition to the cartwheel and cone-shaped foundational structures. The padding itself was in fact another version of hoops that were structured both by rings as well as padding. Called a bustle, French farthingale, cachenfant, bum barrel&lt;ref name=&quot;:7&quot; /&gt;{{rp|42}} or even (quoting Ben Jonson, 1601) bum roll&lt;ref&gt;Cunnington, C. Willett (Cecil Willett), and Phillis Cunnington. ''Handbook of English Costume in the Sixteenth Century''. Faber and Faber, 1954. Internet Archive https://archive.org/details/handbookofenglis0000unse_e2n2/.&lt;/ref&gt;{{rp|161}} in its day, the hip roll still does not have a stable name. The common terms for what we call the hip roll now include ''bum roll'' and ''French farthingale''. The term ''bustle'' is no longer associated with the farthingale.

==== Bunched Skirts or Padding ====
The speed with which trends in clothing changed began to accelerate in the 17th century, making fashion more expensive and making keeping up with the latest styles more difficult. Part of the transition in this century, then, is the number of silhouettes possible for women, including early forms of what became the pannier in the 18th century and what became the bustle in the late 19th. In the later periods, these forms of hoops involved &quot;baskets&quot; or cages (or crinolines), but during this transitional period, these shapes were made from &quot;stiffened rolls [&lt;nowiki/&gt;[[Social Victorians/Terminology#Hip Rolls|hip rolls]]] that were tied around the waist&quot;&lt;ref&gt;Bendall, Sarah A. () The Case of the “French Vardinggale”: A Methodological Approach to Reconstructing and Understanding Ephemeral Garments, ''Fashion Theory'' 2019 (23:3), pp. 363-399, DOI: [[doi:10.1080/1362704X.2019.1603862|10.1080/1362704X.2019.1603862]].&lt;/ref&gt;{{rp|369}} at the hips under the skirts or from bunched fabric, or both. The fabric-based volume in the back involved the evolution of an overskirt, showing more and more of the underskirt, or [[Social Victorians/Terminology#Petticoat|petticoat]], beneath it. This development transformed the petticoat into an outer garment.[[File:Princess Teresa Pamphilj Cybo, by Jacob Ferdinand Voet.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1670]]
[[File:Caspar Netscher - Girl Standing before a Mirror - 1925.718 - Art Institute of Chicago.jpg|thumb|Netscher, Girl Standing before a Mirror|left]]

Two examples of the bunched overskirt can be seen in Caspar Netscher's ''Girl Standing before a Mirror'' (left) and Voet's ''Portrait of Anna Pamphili'' (right), both painted about 1670. (This portrait of Anna Pamphili and the one below right were both misidentified with her mother Olimpia Aldobrandini.) In both these portraits, the overskirt is split down the center front, pulled to the sides and toward the back and stitched (probably) to keep the fabric from falling flat. The petticoat, which is now an outer garment, hangs straight to the floor. In Netscher's portrait, the girl's shoe shows, but the skirt rests on the ground, requiring her to lift her skirts to be able to walk, not to mention dancing. The dress in Anna Pamphili's portrait is an interesting contrast of soft and hard. The embroidery stiffens the narrow petticoat, suggesting it might have been a good choice for a static portrait but not for moving or dancing.

Besides bunched fabric, the other way to make the skirts full at the hips was with hip rolls. Mierevelt's 1629 Portrait of Elizabeth Stuart (below, left) shows a split overskirt, although the fabric is not bunched or draped toward the back. The fullness here is caused by a hip roll, which adds fullness to the hips and back, leaving the skirts flat in front. In this case the flatness of the roll in front pulls the overskirt slightly apart and reveals the petticoat, even this early in the century. One reason this portrait is striking because Elizabeth Stuart appears to be wearing a mourning band on her left arm. Also striking are the very elaborate trim and decorations, displaying Stuart's wealth and status, including the large ornament on the mourning band. [[File:Michiel van Mierevelt - Portrait of Elizabeth Stuart (1596-1662), circa 1629.jpg|thumb|Michiel van Mierevelt, Elizabeth Stuart, c. 1629|left]][[File:Attributed to Voet - Portrait of Anna Pamphili, misidentified with her mother Olimpia Aldobrandini.jpg|thumb|Attr. to Voet, Anna Pamphili, c. 1671]]

The c. 1671 portrait of Anna Pamphili (below, right) shows an example of the petticoat's development as an outer garment. In the Mierevelt portrait (left), the petticoat barely shows. A half century later, in the portrait of Anna Pamphili, the overskirt is not split but so short that the petticoat is almost completely revealed. A hip roll worn under both the petticoat and the overskirt gives her hips breadth. The petticoat is gathered at the sides and smooth in the front, falling close to her body. The fullness of the petticoat and the overskirt is on the sides — and possibly the back. The heavily trimmed overskirt is stiff but not rigid. Anna Pamphili's shoe peeps out from under the flattened front of the petticoat.

The neckline, the hipline, the bottom of the overskirt, the trim at the hem of the petticoat and overskirt and the ribbons on the sleeves — as well as even the hair style — all give Pamphili's outfit a sophisticated horizontal design, a look that soon would become very important and influential as panniers gained popularity.

=== Panniers ===
The formal, high-status dress we most associate with the 18th century is the horizontal style of panniers, the hoops at the sides of the skirt, which is closer to the body in front and back. Popular in the mid century in France, panniers continued to dominate design in court dress in the U.K. &quot;well into the 19th century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}} ''Paniers anglais'' were 8-hoop panniers.&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}}

Panniers were made from a variety of materials, most of which have not survived into the 21st century, and the most common materials used panniers has not been established. Lewandowski says that skirts were &quot;stretched over metal hoops&quot; that &quot;First appear[ed] around 1718 and [were] in fashion [for much of Europe] until 1800. ... By 1750 the one-piece pannier was replaced by [two pieces], with one section over each hip.&quot;&lt;ref name=&quot;:7&quot; /&gt;{{rp|219}} According to Payne, another kind of pannier &quot;consisted of a pair of caned or boned [instead of metal] pouches, their inner surfaces curved to the ... contour of the hips, the outside extending well beyond them.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Given that it is a natural material, surviving examples of cane for the structure of panniers are an unexpected gift, although silk, linen and wool also occasionally exists in museum collections. No examples of bone structures for panniers exist, suggesting that bone is less hardy than cane. Waugh says that whalebone was the only kind of &quot;bone&quot; (it was actually cartilage, of course) used;&lt;ref name=&quot;:19&quot;&gt;Waugh, Norah. ''Corsets and Crinolines''. New York, NY: Theatre Arts Books, 1954. Rpt. Routledge/Theatre Arts Books, 2000.&lt;/ref&gt;{{rp|167}} Payne says cane and whalebone were used for panniers.&lt;ref name=&quot;:11&quot; /&gt;{{rp|426}} Neither Payne nor Waugh mention metal. Examples of metal structures for panniers have also not survived, perhaps because they were rare or occurred later, during revolutionary times, when a lot of things got destroyed.

The pannier was not the only silhouette in the 18th century. In fact, the speed with which fashion changed continued to accelerate in this century. Payne describes &quot;Six basic forms,&quot; which though evolutionary were also quite distinct. Further, different events called for different styles, as did the status and social requirements for those who attended. For the first time in the clothing history of the culturally elite, different distinct fashions overlapped rather than replacing each other, the clothing choices marking divisions in this class.

The century saw Payne's &quot;Six basic forms&quot; or silhouettes generally in this order but sometimes overlapping:

# '''Fullness in the back'''. The fabric bustle. While we think of the bustle as a 19th-century look, it can be found in the 18th century, as Payne says.&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}} The overskirt was all pulled to the back, the fullness probably mostly made by bunched fabric.
# '''The round skirt'''. &quot;The bell or dome shape resulted from the reintroduction of hoops[,] in England by 1710, in France by 1720.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411}}
# '''The ellipse, panniers'''. &quot;The ellipse ... was achieved by broadening the support from side to side and compressing it from front to back. It had a long run of popularity, from 1740 to 1770, the extreme width being retained in court costumes. ... English court costume [411/413] followed this fashion well into the nineteenth century.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|411, 413}}
# '''Fullness in the back and sides'''. &quot;The dairy maid, or [[Social Victorians/Terminology#Polonaise|polonaise]], style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, which were used to form the three great ‘poufs’ known as the polonaise .... These diversions appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''Fullness in the back'''. The return of the bustle in the 1780s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
# '''No fullness'''. The tubular [or Empire] form, drawn from classic art, in the 1790s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}
Hoops affected how women sat, went through doors and got into carriages, as well as what was involved in the popular dances. Length of skirts and trains. Some doorways required that women wearing wide panniers turn sideways, which undermined the &quot;entrance&quot; they were expected to make when they arrived at an event. Also, a woman might be accompanied by a gentleman, who would also be affected by her panniers and the width of the doorway. Over the century skirts varied from ankle length to resting on the floor. Women wearing panniers would not have been able to stand around naturally: the panniers alone meant they had to keep their elbows bent. 

[[File:Panniers 1.jpg|thumb|alt=Photograph of the wooden and fabric skeleton of an 18th-century women's foundation garment|Wooden and Fabric-covered Structure for 18th-century Panniers|left]][[File:Hoop petticoat and corset England 1750-1780 LACMA.jpg|thumb|Hooped Petticoat and Corset, 1750–80]]The 1760–1770 French panniers (left) are &quot;a rare surviving example&quot;&lt;ref name=&quot;:15&quot;&gt;{{Citation|title=Panniers|url=https://www.metmuseum.org/art/collection/search/139668|date=1760–70|accessdate=2025-01-01}}. The Costume Institute, Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/139668.&lt;/ref&gt; of the structure of this foundation garment. Almost no examples of panniers survive. The hoops are made with bent cane, held together with red velvet silk ribbon that looks pinked. The cane also appears to be covered with red velvet, and the hoops have metal &quot;hinges that allow [them] to be lifted, facilitating movement in tight spaces.&quot;&lt;ref name=&quot;:15&quot; /&gt; This inventive hingeing permitted the wearer to lift the bottom cane and her skirts, folding them up like an accordion, lifting the front slightly and greatly reducing the width (and making it easier to get through doors). ['''Write the Met to ask about this description once it's finished. Are there examples of boned or metal panniers that they're aware of?''']&lt;p&gt;

The corset and hoops shown (right) are also not reproductions and are also rare examples of foundation garments surviving from the 18th century. These hoops are made with cane held in place by casings sewn into a plain-woven linen skirt.&lt;ref&gt;{{Cite web|url=https://collections.lacma.org/node/214714|title=Woman's Hoop Petticoat (Pannier) {{!}} LACMA Collections|website=collections.lacma.org|access-date=2025-01-03}} Los Angeles County Museum of Art. https://collections.lacma.org/node/214714.&lt;/ref&gt; These 1750–1780 hoops are modestly wide, but the gathering around the casings for the hoops suggests that the panniers could be widened if longer hoops were inserted. (The corset shown with these hoops is treated in the [[Social Victorians/Terminology#Corsets|Corsets section]]. The mannequin is wearing a [[Social Victorians/Terminology#Chemise|chemise undergarment]] as well.)[[File:Johanna Gabriele of Habsburg Lorraine1 copy.jpg|thumb|Martin van Meytens, Johanna Gabriele of Habsburg Lorraine, c. 1760|left]]In her c. 1760 portrait (left), Johanna Gabriele of Habsburg Lorraine is wearing exaggerated court-dress panniers, shown here about the widest that they got. Johanna Gabriele was the daughter of Maria Theresa of Austria, so she was a sister of Marie Antoinette, who also would have worn panniers as exaggerated as these. Johanna Gabriele's hairstyle has not grown into the huge bouffant style that developed to balance the wide court dress, so her outfit looks out of proportion in this portrait. And, because of her panniers, her arms look slightly awkward. The tips of her shoes show because her skirt has been pulled back and up to rest on them.

France had become the leader in high fashion by the middle of the century, led first by Madame Pompadour and then by Marie Antoinette, who was crowned queen in 1774.&lt;ref&gt;{{Cite journal|date=2025-04-23|title=Marie Antoinette|url=https://en.wikipedia.org/wiki/Marie_Antoinette|journal=Wikipedia|language=en}}&lt;/ref&gt;  Court dress has always been regulated, but it could be influenced. Marie Antoinette's influence was toward exaggeration, both in formality and in informality. In their evolution formal-dress skirts moved away from the body in front and back but were still wider on the sides and were decorated with massive amounts of trim, including ruffles, flowers, lace and ribbons. The French queen led court fashion into greater and greater excess: &quot;Since her taste ran to dancing, theatrical, and masked escapades, her costumes and those of her court exhibited quixotic tendencies toward absurdity and exaggeration.&quot;&lt;ref name=&quot;:11&quot; /&gt;{{rp|428}} Both Madame Pompadour's and Marie Antoinette's taste ran to extravagance and excess, visually represented in the French court by the clothing.[[File:Marie Antoinette 1778-1783.jpg|thumb|Marie Antoinette in 1778 and 1779]]The two portraits (right), painted by Élizabeth Louise Vigée Le Brun in 1778 on the left and 1779 on the right, show Marie Antoinette wearing the same dress. Although one painting has been photographed as lighter than the other, the most important differences between the two portraits are slight variations in the pose and the hairstyle and headdress. Her hair in the 1779 painting is in better proportion to her dress than it is in the earlier one, and the later headdress — a stylized mobcap — is more elaborate and less dependent on piled-up hair. (The description of the painting in Wikimedia Commons says she gave birth between these two portraits, which in particular affected her hair and hairline.&lt;ref&gt;&quot;File:Marie Antoinette 1778-1783.jpg.&quot; ''Wikimedia Commons'' [&lt;bdi&gt;Élisabeth Louise Vigée Le Brun, 2 portraits of Marie Antoinette&lt;/bdi&gt;] https://commons.wikimedia.org/wiki/File:Marie_Antoinette_1778-1783.jpg.&lt;/ref&gt;)[[File:Queen Charlotte, by studio of Thomas Gainsborough.jpg|thumb|Queen Charlotte of England, 1781|left]]

In this 1781&lt;ref&gt;{{Cite web|url=https://artsandculture.google.com/asset/wd/jAGip1dpEkf-Fw|title=Portrait of Queen Charlotte of England - Thomas Gainsborough, studio|website=Google Arts &amp; Culture|language=en|access-date=2025-04-16}}&lt;/ref&gt; portrait from the workshop of Thomas Gainsborough (left), Queen Charlotte is wearing panniers less exaggerated in width than Johanna Gabriele's. The English did not usually wear panniers as wide as those in French court dress, but the decoration and trim on the English Queen Charlotte's gown are as elaborate as anything the French would do.

The ruffles (many of them double) and fichu are made with a sheer silk or cotton, which was translucent rather than transparent. The ruffles on Queen Charlotte's sleeves are made of lace. The ruffles and poufs of sheer silk are edged in gold. The embroidered flowers and stripes, as well as the sequin discs and attached clusters are all gold. The skirt rose above the floor, revealing Queen Charlotte's pointed shoe. Shoes were fashion accessories because of the shorter length of the skirts.

The whole look is more balanced because of the bouffant hairstyle, the less extreme width in the panniers and the greater fullness in front (and, probably, back). 

The white dress worn by the queen in Season 1, Episode 4 of the BBC and Canal+ series ''Marie Antoinette'' stands out because nobody else is wearing white at the ball in Paris and because of the translucent silk or muslin fabric, which would have been imported from India at that time (some silk was still being imported from China). Muslin is not a rich or exotic fabric to us, but toward the end of the 18th century, muslin could be imported only from India, making it unusual and expensive.&lt;blockquote&gt;Another English contribution to the fashion of the eighties was the sheer white muslin dress familiar to us from the paintings of Reynolds, Romney, and Lawrence. In this respect the English fell under the spell of classic Greek influence sooner than the French did. Lacking the restrictions imposed by Marie Antoinette's court, the English were free to adapt costume designs from the source which was inspiring their architects and draftsmen.&lt;ref name=&quot;:11&quot; /&gt;{{rp|438}} &lt;/blockquote&gt;So while a sheer white dress would have been unlikely in Marie Antoinette's court, according to Payne, the fabric itself was available and suddenly became very popular, in part because of its simplicity and its sheerness. The Empire style replaced the Rococo busyness in a stroke, like the French Revolution.&lt;p&gt;

By the 1790s French and English fashion had evolved in very different directions, and also by this time, accepted fashion and court dress had diverged, with the formulaic properties of court dress — especially in France — preventing its development. In general,&lt;blockquote&gt;English women were modestly covered ..., often in overdress and petticoat; that heavier fabrics with more pattern and color were used; and that for a while hairdress remained more elaborate and headdress more involved than in France.&lt;ref name=&quot;:11&quot; /&gt;{{rp|441}}&lt;/blockquote&gt;Even in such a rich and colorful court dress as Queen Charlotte is wearing in the Gainsborough-workshop portrait, her more &quot;modest&quot; dress shows these trends very clearly: the white (muslin or silk) and the elaborate style in headdress and hair.

=== Polonaise ===

==== Marie Antoinette — The Context ====

The robe à la Polonaise in casual court dress was popularized by Marie Antoinette for less formal settings and events, a style that occurred at the same time as highly formal dresses with panniers. An informal fashion not based on court dress, although court style would require panniers, though not always the extremely wide ones, and the new style. It was so popular that it evolved into one way court dress could be.[[File:Marie Antoinette in a Park Met DP-18368-001.jpg|thumb|Le Brun, ''Marie Antoinette in a Park'']]Trianon: Marie Antoinette's &quot;personal&quot; palace at Versailles, where she went to entertain her friends in a casual environment. While there, in extended, several-day parties, she and her friends played games, did amateur theatricals, wore costumes, like the stylization of what a dairy maid would wear. A release from the very rigid court procedures and social structures and practices. Separate from court and so not documented in the same way events at Versailles were.

In the c. 1780–81 sketch (right) of Marie Antoinette in a Park by Elisabeth Louise Vigée Le Brun,&lt;ref&gt;Le Brun, Elisabeth Louise Vigée. ''Marie Antoinette in a Park'' (c. 1780–81). The Metropolitan Museum of Art https://www.metmuseum.org/art/collection/search/824771.&lt;/ref&gt; the queen is wearing a robe à la Polonaise with an apron in front, so we see her in a relatively informal pose and outfit. The underskirt, which is in part at least made of a sheer fabric, shows beneath the overskirt and the apron. This is a late Polonaise, more decoration, additions of ribbons, lace, lace, [[Social Victorians/Terminology#Plastics|plastics]], ruffles, which did not exist on actual milkmaid dresses or earlier versions of the robe à la Polonaise. Even though this is a sketch, we can see that this dress would be more comfortable and convenient for movement because the bodice is not boned, and wrinkles in the bodice suggest that she is not likely wearing a corset. 

==== Definition of Terms ====

The Polonaise was a late-Georgian or late-18th-century style, the usage of the word in written English dating from 1773 although ''Polonaise'' is French for ''the Polish woman'', and the style arose in France:&lt;blockquote&gt;A woman's dress consisting of a tight, unboned bodice and a skirt open from the waist downwards to reveal a decorative underskirt. Now historical.&lt;ref name=&quot;:13&quot;&gt;“Polonaise, N. &amp; Adj.” ''Oxford English Dictionary'', Oxford UP, September 2024, https://doi.org/10.1093/OED/2555138986.&lt;/ref&gt;&lt;/blockquote&gt;The lack of boning in the bodice would make this fashion more comfortable than the formal foundation garments worn in court dress.

The term ''á la polonaise'' itself is not in common use by the French nowadays, and the French ''Wikipédia'' doesn't use it for clothing. French fashion drawings and prints from the 18th-century, however, do use the term.

Elizabeth Lewandowski dates the Polonaise style from about 1750 to about 1790,&lt;ref name=&quot;:7&quot; /&gt;{{rp|123}} and Payne says it was &quot;prevalent&quot; in the 1770s.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}

The style à la Polonaise was based on an idealization of what dairy maids wore, adapted by aristocratic women and frou-froued up. Two dairymaids are shown below, the first is a caricature of a stereotypical milkmaid and the second is one of Marie Antoinette's ladies in waiting costumed as a milkmaid.
[[File:La laitiere. G.16931.jpg|left|thumb|Mixelle, ''La Laitiere'' (the Milkmaid)]]
[[File:Madame A. Aughié, Friend of Queen Marie Antoinette, as a Dairymaid in the Royal Dairy at Trianon - Nationalmuseum - 21931.tif|thumb|Madame A. Aughié, as a Dairymaid in the Royal Dairy at Trianon]]In the aquatint engraving of ''La Laitiere'' (left) by Jean-Marie Mixelle (1758–1839),&lt;ref&gt;Mixelle, Jean-Marie. ''La Laitiere'', Musée Carnavalet, Histoire de Paris, Inventory Number: G.16931. https://www.parismuseescollections.paris.fr/fr/musee-carnavalet/oeuvres/la-laitiere-8#infos-secondaires-detail.&lt;/ref&gt; the milkmaid is portrayed as flirtatious and, perhaps, not virtuous. She is wearing clogs and two white aprons. Her bodice is laced in front, the ruffle is probably her chemise showing at her neckline, and the peplum sticks out, drawing attention to her hips. As apparently was typical, she is wearing a red skirt, short enough for her ankles to show. The piece around her neck has become untucked from her bodice, contributing to the sexualizing, as does the object hanging from her left hand and directing the eye to her bosom. (The collection of engravings that contains this one is undated but probably from the late 19th or early 20th century.)

The 1787 &lt;bdi&gt;Adolf Ulrik Wertmüller&lt;/bdi&gt; portrait of Madame Adélaïde Aughié in the Royal Dairy at Petit Trianon-Le Hameau&lt;ref&gt;Wertmüller, Adolf Ulrik. ''Adélaïde Auguié as a Dairy-Maid in the Royal Dairy at Trianon''. 1787. The National Museum of Sweden, Inventory number NM 4881. https://collection.nationalmuseum.se/en/collection/item/21931/.&lt;/ref&gt; (right) is about as casual as Le Trianon got. A contemporary of Marie Antoinette, she is in costume as a milkmaid in the Royal Dairy at Trianon, perhaps for a theatrical event or a game. Her dress is not in the à la Polonaise style but a court interpretation of what a milkmaid would look like, in keeping with the hired workers at le Trianon.

==== The 3 Poufs ====
Visually, the style à la Polonaise is defined by the 3 poufs made by the gathering-up of the overskirt. Initially most of the fabric was bunched to make the poufs, but eventually they were padded or even supported by panniers. Payne describes how the polonaise skirt was constructed, mentioning only bunched fabric and not padding:&lt;blockquote&gt;The dairy maid, or polonaise, style could be achieved either by pulling the lower part of the overskirt through its own pocket holes, thus creating a bouffant effect, or by planned control of the overskirt, through the cut or by means of draw cords, ribbons, or loops and buttons, [or, later, buckles] which were used to form the three great ‘poufs’ known as the polonaise .... These diversions [the poufs] appeared in the late [seventeen] sixties and became prevalent in the seventies. They were much like the familiar styles of our own [American] Revolutionary War period.&lt;ref name=&quot;:11&quot; /&gt;{{rp|413}}&lt;/blockquote&gt;[[File:Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle, G.4555.jpg|thumb|Robe à la polonaise, c. 1775]]The overskirt, which was gathered or pulled into the 3 distinctive poufs, was sometimes quite elaborately decorated, revealing the place of this garment in high fashion (rather than what an actual working dairy maid might wear). The fabrics in the underskirt and overskirt sometimes were different and contrasting; in simpler styles, the two skirts might have the same fabrics. More complexly styled dresses were heavily decorated with ruffles, bows, [[Social Victorians/Terminology#Plastics|plastics]], ribbons, flowers, lace and trim.

The c. 1775&lt;ref name=&quot;:21&quot;&gt;&quot;Robe à la polonaise jaune et violette, Galerie des modes, Fonds d'estampes du XVIIIème siècle.&quot; Palais Galliera, musée de la Mode de la Ville de Paris. Inventory number: G.4555. https://www.parismuseescollections.paris.fr/fr/palais-galliera/oeuvres/robe-a-la-polonaise-jaune-et-violette-galerie-des-modes-fonds-d-estampes-du#infos-principales.&lt;/ref&gt; fashion color print (right) shows the way the overskirt of the Polonaise was gathered into 3 poufs, one in back and one on either side. In this illustration, the underskirt and the overskirt have the same yellow fabric trimmed with a flat band of purple fabric. The 18th-century caption printed below the image identifies it as a &quot;Jeune Dame en robe à la Polonoise de taffetas garnie a plat de bandes d'une autre couleur: elle est coeffée d'un mouchoir a bordures découpées, ajusté avec gout et bordé de fleurs [Young Lady in a Polonaise dress of taffeta trimmed flat with bands of another color: she is wearing a handkerchief with cut edges, tastefully adjusted and bordered with flowers].&quot;&lt;ref name=&quot;:21&quot; /&gt;

The skirt's few embellishments are the tasseled bows creating the poufs. The gathered underskirt falls straight from the padded hips to a few inches above the floor. Her cap is interesting, perhaps a forerunner of the mob cap (here a handkerchief worn as a cap [&quot;mouchoir a bordures découpées&quot;]).

===== The Evolution of the Polonaise into Court Dress =====
Part of the original attraction of the robe à la Polonaise was that women did not wear their usual heavy corsets and hoops, which is what would have made this style informal, playful, easy to move in, an escape from the stiffness of court life. Traditionally court dress with panniers and the robe à la Polonaise were thought to be separate, competing styles, but actually the two styles influenced each other and evolved into a design that combined elements from both.

By the time the robe à la Polonaise became court dress, the poufs were no longer only bunched fabric but large, controlled elaborations that were supported by structural elements, and the silhouette of the dress had returned to the ellipsis shape provided by panniers, with perhaps a little more fullness in front and back. The underskirt fell straight down from the hip level, indicating that some kind of padding or structure pulled it away from the body.

Court dress required the controlled shape of the skirt and a tightly structured bodice, which could have been achieved with corseting or tight lacing of the bodice itself. In the combined style, the bodice comes to a pointed V below the waist, which could only be kept flat by stays. While the Polonaise was ankle length, court dress touched the floor.

The following 3 images are fashion prints showing Marie Antoinette in court dress influenced by the robe à la Polonaise, made into a personal style for the queen by the asymmetrical poufs, the reduction of Rococo decoration, layers stacked upon each other and a length that keeps the hem of the skirts off the floor.[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Français, 1787, ooo 356 Grand habit de bal a la Cour (..), RP-P-2009-1213.jpg|thumb|Marie Antoinette in a Court Ball Gown à la Polonaise|left]]The 1787 &quot;Grand habit de bal à la Cour, avec des manches à la Gabrielle &amp; c.&quot; (left) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a ballgown for the court with sleeves à la Gabrielle.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--10ceb0e05fbb45ad4941bed1dacb27f1|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; 

This ballgown, influenced by the robe à la polonaise, is balanced but asymmetrical and seems to have panniers for support of the side poufs. The only decoration on the skirt is ribbon or braid and tassels. Contrasting fabrics replace the [[Social Victorians/Terminology#Frou-frou|frou-frou]] for more depth and interest. The lining of the poufs has been pulled out for another contrasting color. The print makes it impossible to tell if the purple is an underskirt and an overskirt or one skirt with attached loops of the ribbon-like trim. 

(A sleeve à la Gabrielle has turned out to be difficult to define. The best we can do, which is not perfect, is a 4 July 1814 description: &quot;On fait, depuis quelque temps, des manches à la Gabrielle. Ces manches, plus courtes que les manches ordinaires, se terminent par plusieurs rangs de garnitures. Au lieu d'un seul bouillonné au poignet, on en met trois ou quatre, que l'on sépare par un poignet.&quot;&lt;ref&gt;&quot;Modes.&quot; ''Journal des Dames et des Modes''. 4 July 1814 (18:37), vol. 10, 1. ''Google Books'' https://books.google.com/books?id=kwNdAAAAcAAJ.&lt;/ref&gt;{{rp|296}} [&quot;For some time now, sleeves have been made in the Gabrielle style. These sleeves, shorter than ordinary sleeves, end in several rows of trimmings. Instead of a single ruffle at the wrist, three or four are used, separated by a wrist treatment.&quot;] The sleeves on the bodice of robes à la Polonaise seem to have been short, 3/4-length or less.) [[File:Gallerie des Modes et Costumes Français, 1787, sss 384 Robe de Cour à la Turque (..), RP-P-2009-1220.jpg|thumb|Marie Antoinette in a Court Dress à la Turque]]The c. 1787 &quot;Robe de Cour à la Turque, coeffure Orientale aves des aigrettes et plumes, &amp;c.&quot; (right) by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a court dress à la Turque with a headdress that has [[Social Victorians/Terminology#Aigrette|aigrettes]] and plumes.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/---75499afec371ac1741dd98d769b14698|title=Gallerie des Modes et Costumes Français, 1787, sss 384 : Robe de Cour à la Turque; (...)|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; The &quot;coeffure Orientale&quot; seems to be a highly stylized turban.

This court dress is à la Polonaise in that it has poufs, but it has 2 layers of poufs and an underskirt with a large ruffle. With its unusual striped fabric, its contrasting colors, the very asymmetrical skirt and the ruffles, bows and tassels, this is an elaborate and visually complex dress, but it is not decorated with a lot of [[Social Victorians/Terminology#Frou-frou|frou-frou]].

Several prints in this fashion collection show the robe à la Turque, a late-Georgian style [1750–1790],&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}} none of which look &quot;Turkish&quot; in the slightest. Lewandowski defines robe à la Turque:&lt;blockquote&gt;

Very tight bodice with trained over-robe with funnel sleeves and a collar. Worn with a draped sash.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;

Her &quot;Robe à la Reine&quot; might offer a better description of this outfit, or at least of the overskirt:&lt;blockquote&gt;Popular from 1776 to 1787, bodice with an attached overskirt swagged back to show the underskirt. .... Gown was short sleeved and elaborately decorated.&lt;ref name=&quot;:7&quot; /&gt;{{rp|250}}&lt;/blockquote&gt;[[File:Marie Antoinette de modekoningin Gallerie des Modes et Costumes Français Gallerie des Modes et Costumes Francais, 1787, ooo.359, Habit de Cour en hyver (titel op object), RP-P-2004-1142.jpg|thumb|Marie Antoinette in Winter Court Fashion]]

This 18th-century interpretation of what looked Turkish would have been about what was fashionable and, in the case of Marie Antoinette's court, dramatic.

The 1787 &quot;Habit de Cour en hyver garni de fourrures &amp;c.&quot; (right) of Marie Antoinette by printmaker Nicolas Dupin, after a drawing by Augustin de Saint-Aubin, shows Marie Antoinette in a winter court outfit trimmed with white fur.&lt;ref&gt;{{Cite web|url=https://www.rijksmuseum.nl/en/collection/object/Marie-Antoinette-The-Queen-of-Fashion-Gallerie-des-Modes-et-Costumes-Francais--727dc366885cc0596cd60d7b2c57e207|title=Marie Antoinette: The Queen of Fashion: Gallerie des Modes et Costumes Français|website=Rijksmuseum.nl|language=en|access-date=2025-05-02}}&lt;/ref&gt; Unusually, this &quot;habit&quot; à la Polonaise has a train. The highly stylized court version of a mob cap was appropriated from the peasantry and turned into this extravagant headdress with its unrealistic high crown and its huge ribbon and bows. This outfit as a whole is balanced even though individual elements (like the cap and the white drapes gathered and bunched with bows and tassels) are out of proportion.

The decadence of the aristocratic and royal classes in France at the end of the 18th century are revealed by these extravagant, dramatic fashions in court dress. These restructured, redesigned court dresses are the merging of the earlier, highly decorated and formal pannier style with the simpler, informal style à la Polonaise. The design is complex, but the complexity does not result from the variety of decorations. The most important differences in the merged design are in the radical reduction of frou-frou and the number of layers. Also, sometimes, the skirts are ankle rather than floor length. The foundation garments held the layers away from the legs, not restricting movement. The different styles of farthingales that existed at the same time are variations on a theme, but the panniers and the Polonaise styles, which also existed at the same time, had different purposes and were designed for different events, but the two styles influenced each other to the point that they merged. 

All the various forms of hoops we've discussed so far are not discrete but moments in a long evolution of foundation structures. Once fashion had moved on, they all passed out of style and were not repeated. Except the Polonaise, which had influence beyond the 18th century — in the 1870s revival of the à la Polonaise style and in Victorian fancy-dress (or costume) balls. For example, [[Social Victorians/People/Pembroke#Lady Beatrix Herbert|Lady Beatrix Herbert]] at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's fancy-dress ball]] was wearing a Polonaise, based on a Thomas Gainsborough portrait of dancer Giovanna Baccelli.

=== Crinoline Hoops ===
''[[Social Victorians/Terminology#Crinoline|Crinoline]]'', technically, is the name for a kind of stiff fabric made mostly from horsehair and sometimes linen, stiffened with starch or glue, and used for [[Social Victorians/Terminology#Foundation Garments|foundation garments]] like petticoats or bustles. The term ''crinoline'' was not used at first for the cage (shown in the image below left), but that kind of structure came to be called a crinoline as well as a cage, and the term is still used in this way by some.

After the 1789 French Revolution, for about one generation, women stopped wearing corsets and hoops in western Europe.&lt;ref name=&quot;:11&quot; /&gt;{{rp|445–446}} What they did wear was the Empire dress, a simple, columnar style of light-weight cotton fabric that idealized classical Greek outlines and aesthetics. Cotton was a fabric for the elite at this point since it was imported from India or the United States. Sometimes women moistened the fabric to reveal their &quot;natural&quot; bodies, showing that they were not wearing artificial understructures.[[File:Crinoline era3.gif|thumb|1860s Cage Showing the Structure|left]]

Beginning in the second decade of the 19th century and continuing through the 1830s, corsets returned and skirts became more substantial, widened by layers of flounced cotton petticoats — and in winter, heavy woolen or quilted ones. The waist moved down to the natural waist from the Empire height. As skirts got wider in the 1840s, the petticoats became too bulky and heavy, hanging against the legs and impeding movement. In the mid 1850s&lt;ref name=&quot;:11&quot; /&gt;{{rp|510}} &lt;ref name=&quot;:7&quot; /&gt;{{rp|78}} those layers of petticoats began to be replaced by hoops, which were lighter than all that fabric, even when made of steel, and even when really wide.

The sketch (left) shows a crinoline cage from the 1860s, making clear the structure that underlay the very wide, bell or hemisphere shapes of the era without the fabric that would normally have covered it.&lt;ref&gt;Jensen, Carl Emil. ''Karikatur-album: den evropaeiske karikature-kunst fra de aeldste tider indtil vor dage. Vaesenligst paa grundlag af Eduard Fuchs : Die karikature'', Eduard Fuchs. Vol. 1. København, A. Chrustuabsebs Forlag, 1906. P. 504, Fig. 474 (probably) ''Google Books'' https://books.google.com/books?id=BUlHAQAAMAAJ.&lt;/ref&gt; (This image was published in a book in 1904, but it may have been drawn earlier. The [[Social Victorians/Terminology#Chemise|chemise]] is accurate but oversimplified, minus the usual ruffles, more for the wealthy and less for the working classes.) When people think of 1860s hoops, they think of this shape, the one shown in, say, the 1939 film ''Gone with the Wind''. The extremely wide, round shape, which is what we are accustomed to seeing in historical fiction and among re-enactors, was very popular in the 1860s, but it was not the only shape hoops took at this time. The half-sphere shape — in spite of what popular history prepares us to think — was far from universal.[[File:Miss Victoria Stuart-Wortley, later Victoria, Lady Welby (1837-1912) 1859.jpg|thumb|Victoria Stuart-Wortley, 1859]]As the 1860s progressed, hoops (and skirts) moved towards the back, creating more fullness there and leaving a flatter front. The photographs below show the range of choices for women in this decade. Cages could be more or less wide, skirts could be more or less full in back and more or less flat in front, and skirts could be smooth, pleated or folded, or gathered. Skirts could be decorated  with any of the many kinds of ruffles or with layers (sometimes made of contrasting fabrics), and they could be part of an outfit with a long bodice or jacket (sometimes, in fact, a [[Social Victorians/Terminology#Peplum|peplum]]). As always, the woman's social class and sense of style, modesty and practicality affected her choices.&lt;p&gt;

In her portrait (right) Victoria Stuart-Wortley (later Victoria, Lady Welby) is shown in 1859, two years before she became one of Queen Victoria's maids of honor. While Stuart-Wortley is dressed fashionably, her style of clothing is modest and conservative. The wrinkles and folds in the skirt suggest that she could be wearing numerous petticoats (which would have been practical in cold buildings), but the smoothness and roundness of the silhouette of the skirt suggest that she is wearing conservative hoops.[[File:Elisabeth Franziska wearing a crinoline and feathered hat.jpg|thumb|Archduchess Elisabeth Franziska, 1860s|left]]

The portrait of Archduchess Elisabeth Franziska (left) offers an example of hoops from the 1860s that are not half-sphere shaped and a skirt that is not made to fit smoothly over them. The dress seems to have a short peplum whose edges do not reach the front. She is standing close to the base of the column and possibly leaning on the balustrade, distorting the shape of the skirt by pushing the hoop forward.

This dress has a complex and sophisticated design, in part because of the weight and textures of the fabric and trim. The folds in the skirt are unusually deep. Even though the textured or flocked fabric is light-colored, this could be a winter dress.

The skirt is trimmed with zig-zag rows of ruffles and a ruffle along the bottom edge. The ruffles may be double with the top ruffle a very narrow one (made of an eyelet or some kind of textured fabric). Both the top and bottom edges of the tiered double ruffles are outlined in a contrasting fabric, perhaps of ribbon or another lace, perhaps even crocheted. Visual interest comes from the three-dimensionality provided by the ruffles and the contrast caused by dark crocheted or ribbon edging on the ruffles. In fact, the ruffles are the focus of this outfit.

[[File:Her Majesty the Queen Victoria.JPG|thumb|Queen Victoria at Windsor Castle, 1861]]
The photographic portrait (right) of Queen Victoria at Windsor Castle, in evening dress with diadem and jewels, is by Charles Clifford&lt;ref&gt;{{Cite web|url=https://wellcomecollection.org/works/ppgcfuck|title=Queen Victoria. Photograph by C. Clifford, 1861.|website=Wellcome Collection|language=en|access-date=2025-02-03}}&lt;/ref&gt; of Madrid, dated 14 November 1861 and now held by the Wellcome Institute. Prince Albert died on 14 December 1861,&lt;ref&gt;{{Cite journal|date=2025-01-20|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/wiki/Prince_Albert_of_Saxe-Coburg_and_Gotha|journal=Wikipedia|language=en}}&lt;/ref&gt; so this carte-de-visite portrait was taken one month before Victoria went into mourning for 40 years.

This fashionable dress could be a ballgown designed by a designer.

The hoops under these skirts appear to be round rather than elliptical but are rather modest in their width and not extreme. That is, there is as much fullness in the front and back as on the sides. In this style, the skirt has a smooth appearance because it is not fuller at the bottom than the waist, where it is tightly gathered or pleated, so the skirts lie smoothly on the hoops and are not much fuller than the hoops. The smoothness of this skirt makes it definitive for its time. 

Instead of elaborate decoration, this visually complex dress depends on the woven moiré fabric with additional texture created by the shine and shadows in the bunched gathering of the fabric. The underskirt is gathered both at the waist and down the front, along what may be ribbons separating the gathers and making small horizontal bunches. The overskirt, which includes a train, has a vertical drape caused by the large folds at the waist. The horizontal design in the moiré fabric contrasts with the vertical and horizontal gathers of the underskirt and large, strongly vertical folds of the overskirt.[[File:Queen Victoria photographed by Mayall.JPG|thumb|Queen Victoria photographed by Mayall. early 1860s|left]]
The carte-de-visite portrait of Queen Victoria by John Jabez Edwin Paisley Mayall (left) shows hoops that are more full in the back than the front. Mayall took a number of photographs of the royal family in 1860 and in 1861 that were published as cartes de visite,&lt;ref&gt;{{Cite journal|date=2024-11-08|title=John Jabez Edwin Mayall|url=https://en.wikipedia.org/wiki/John_Jabez_Edwin_Mayall|journal=Wikipedia|language=en}}&lt;/ref&gt; and the style of Victoria's dress is consistent with the early 1860s.

The fact that she has white or a very light color at her collar and wrists suggests that she was not in full mourning and thus wore this dress before Prince Albert died on 14 December 1861. We cannot tell what color this dress is, and it may not be black in spite of how it appears in this photograph. Victoria's hoops are modest — not too full — and mostly round, slightly flatter in the front. The skirt gathers more as it goes around the sides to the back and falls without folds in the front, where it is smoother, even over the flatter hoops. This is a winter garment with bulky sleeves and possibly fur trim. Except for what may be an undergarment at the wrists, this one-layer garment might be a dress or a bodice and skirt (perhaps with a short jacket). Over-trimmed garments were standard in this period. Lacking layers, ruffles, lace or frou-frou, the simple design of Victoria's dress is deliberate and balanced — and looks warm.

The bourgeois, inexpensive-looking design of this dress echoes Victoria's performance of a queen who is respectable and responsible rather than aristocratic and &quot;fashion forward.&quot; So she looks like a middle-class matron.[[File:Queen Emma of Hawaii, photograph by John &amp; Charles Watkins, The Royal Collection Trust (crop).jpg|thumb|Queen Emma Kaleleokalani of Hawai'i, 1865]]

The portrait (right) of Queen Emma of Hawaii —  Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke — is a carte de visite from an album of ''Royal Portraits'' that Queen Victoria collected. The carte-de-visite photograph is labelled 1865 and ''Queen Emma of the Sandwich Islands'',&lt;ref&gt;Unknown Photographer. ''Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, Queen of the Kingdom of Hawaii (1836-85)''. ''www.rct.uk''. Retrieved 2025-02-07. https://www.rct.uk/collection/2908295/emma-kalanikaumakaamano-kaleleonalani-naea-rooke-queen-of-the-kingdom-of-hawaii.&lt;/ref&gt; possibly in Victoria's hand. How Victoria got this photograph is not clear. Queen Emma traveled to North America and Europe between 6 May 1865 and 23 October 1866,&lt;ref&gt;Benton, Russell E. ''Emma Naea Rooke (1836-1885), Beloved Queen of Hawaii''. Lewiston, N.Y., U.S.A. : E. Mellen Press, 1988. ''Internet Archive'' https://archive.org/details/emmanaearooke1830005bent/.&lt;/ref&gt;{{rp|49}} visiting London twice, the second time in June 1866.&lt;ref name=&quot;:17&quot;&gt;{{Cite journal|date=2025-01-07|title=Queen Emma of Hawaii|url=https://en.wikipedia.org/wiki/Queen_Emma_of_Hawaii|journal=Wikipedia|language=en}}&lt;/ref&gt;

In her portrait Queen Emma is standing before some books and an open jewelry box. She shows an elegant sense of style.

The silhouette shows a sophisticated variation of the hoops as the fullness has moved to the back and the front flattened. The large pleats suggest a lot of fabric, but the front falls almost straight down. The overskirt and bodice are made from a satin-weave fabric, and the petticoat has a matt woven surface. The overskirt is longer in the back, leading us to expect the petticoat also to be longer and to turn into a train. Although the hoops cause the skirt to fall away from her body in back, the skirt does not drag on the floor as a train would and just clears the floor all the way around.

This optical illusion of a train makes this dress look more formal than it actually was. The covered shoulders and décolletage say the dress was not a formal or evening gown. In fact, this looks like a winter dress, and the sleeves (which she has pushed up above her wrist) are wrinkled, suggesting they may be padded. Queen Emma seems to have worn veils like this at other times as well, especially after the death of her husband, as did Victoria, so this is also not her wedding dress.

Popular history has led us to believe that crinoline hoops were half-spherical and always very wide, but photographs of the time show a variety of shapes for skirts, with many women wearing skirts that had flatter fronts and more fabric in the back. In fact, also in the 1860s, according to Lewandowski, a version of the bustle — called a crinolette or crinolette petticoat — developed:&lt;blockquote&gt;Crinolette petticoat: Bustle (1865–1890 C.E.). Worn in 1870 and revived in 1883, petticoat cut flat in front and with half circle steel hoops in back and flounces on bottom back.&lt;ref name=&quot;:7&quot; /&gt;{{rp|78}}&lt;/blockquote&gt;

This development of a bustle mid century is part of the general movement of the fullness of skirts away from the front and toward the back.

==== The 19th-century Revival of the Polonaise ====
The Polonaise style was revived in the last third of the 19th century, but the revival did not bring back the 18th-century 3 poufs. The robe à la Polonaise had evolved. The foundation that created the poufs is gone, replaced possibly in fact by the crinolette petticoat or something like it. The panniers — and the 2 side poufs they supported — have gone, and the bulk of the fabric has been bunched in the back.

Also, the poufs on the sides have been replaced with a flat drape in front that functions as an overskirt.

'''Longer skirt, trains possible. Add the word ''gored'' to get at how the flatness in front was achieved, to set up the Wilder quote.'''

The Polonaise dress (below left and right), in the collection of the Los Angeles County Museum of Art, is English, dating from about 1875.&lt;ref name=&quot;:18&quot;&gt;&quot;Woman's Dress Ensemble.&quot; Costumes and Textiles. LACMA: Los Angeles County Museum of Art. https://collections.lacma.org/node/214459.&lt;/ref&gt; The sheer fabric has red &quot;wool supplementary patterning&quot; woven into the weft.&lt;ref name=&quot;:18&quot; /&gt; Because the mannequin is modern, we cannot be certain how long the skirts would have been on the woman who wore this dress.[[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (1 of 4).jpg|thumb|English Polonaise, c. 1875, front view|left]][[File:Woman's Polonaise Dress LACMA M.2007.211.777a-f (4 of 4).jpg|thumb|English Polonaise, c. 1875, side view]]The dress has an overskirt that is draped up toward the back and pulled under the top poof. The underskirt gets fuller at the bottom but falls basically straight down, a vertical element emphasized by the folds caused by the gathering at the waist. The ruffles and lace form horizontal lines in the skirts. The skirts are very busy visually because of pattern in the fabric and the contrasting vertical and horizontal elements as well as the ruffles, some of which are double, and the machine-made lace at the edge of the ruffles. The skirts look three dimensional because of these elements and the layering of the fabric, multiplying the jagged-edged red &quot;supplementary patterning.&quot;

The fabric of the overskirt is cut, gathered and draped so that the poufs in back are full and rounded, but they are also possibly supported by some kind of foundation structure. The lower pouf in back introduces the idea that the fullness in the back is layered, making this element of the Polonaise a kind of precursor to the bustle and continuing what the crinolette petticoat began in the 1860s.

Although they are common in current historical fiction, descriptions of foundation garments are rare in the writings of the women who wore them or in the literature of the time. Unusually, Laura Ingalls Wilder wrote about the hoops her fictionalized self wore the century before. In ''These Happy Golden Years'' (1943), she gives a detailed description of the clothing under her dress, including a bustle, and calls it a polonaise:&lt;blockquote&gt;
Then carefully over her under-petticoats she put on her hoops. She liked these new hoops. They were the very latest style in the East, and these were the first of the kind that Miss Bell had got. Instead of wires, there were wide tapes across the front, almost to her knees, holding the petticoats so that her dress would lie flat. These tapes held the wire bustle in place at the back, and it was an adjustable bustle. Short lengths of tape were fastened either end of it; these could be buckled together underneath the bustle to puff it out, either large or small. Or they could be buckled together in front, drawing the bustle down close in back so that a dress rounded smoothly over it. Laura did not like a large bustle, so she buckled the tapes in front.

Then carefully over all she buttoned her best petticoat, and over all the starched petticoats she put on the underskirt of her new dress. It was of brown cambric, fitting smoothly around the top over the bustle, and '''gored''' to flare smoothly down over the hoops. At the bottom, just missing the floor, was a twelve-inch-wide flounce of the brown poplin, bound with an inch-wide band of plain brown silk. The poplin was not plain poplin, but striped with an openwork silk stripe.

Then over this underskirt and her starched white corset-cover, Laura put on the polonaise. Its smooth, long sleeves fitted her arms perfectly to the wrists, where a band of the plain silk ended them. The neck was high with a smooth band of the plain silk around the throat. The polonaise fitted tightly and buttoned all down the front with small round buttons covered with the plain brown silk. Below the smooth hips it flared and rippled down and covered the top of the flounce on the underskirt. A band of the plain silk finished the polonaise at the bottom.&lt;ref&gt;Wilder, Laura Ingalls. ''These Happy Golden Years.'' Harper &amp; Row, Publishers, 1943. Pp. 161–163.&lt;/ref&gt;&lt;/blockquote&gt;
When a 20th-century Laura Ingalls Wilder calls her character's late-19th-century dress a polonaise, she is probably referring to the &quot;tight, unboned bodice&quot;&lt;ref name=&quot;:13&quot; /&gt; and perhaps the simple, modest look of a dairy maid. While the bodice was unboned, the fact that she is wearing a corset cover means that she is corseted under it.   
==== Bustle or Tournure ====
As we have seen, bustles were popular from around 1865 to 1890.&lt;ref name=&quot;:7&quot; /&gt; (296) The French term ''tournure'' was a euphemism in English for ''bustle''. The article on the tournure in the French ''Wikipédia'' addresses the purpose of the bustle and crinoline:&lt;blockquote&gt;
Crinoline et tournure ont exactement la même fonction déjà recherchée à d'autres époques avec le vertugadin et ses dérivés: soutenir l'ampleur de la jupe, et par là souligner par contraste la finesse de la taille; toute la mode du xixe siècle visant à accentuer les courbes féminines naturelles par le double emploi du corset affinant la taille et d'éléments accentuant la largeur des hanches (crinoline, tournure, drapés bouffants…).&lt;ref&gt;{{Cite journal|date=2023-10-27|title=Tournure|url=https://fr.wikipedia.org/wiki/Tournure|journal=Wikipédia|language=fr}}&lt;/ref&gt;

[Translation by ''Google Translate'': Crinoline and bustle have exactly the same function already sought in other periods with the farthingale and its derivatives: to support the fullness of the skirt, and thereby emphasize by contrast the finesse of the waist; all the fashion of the 19th century aimed at accentuating natural feminine curves by the dual use of the corset refining the waist and elements accentuating the width of the hips (crinoline, bustle, puffy drapes, etc.).]&lt;/blockquote&gt;The evolution of hoops' final phase was the development of the bustle. We see evidence of the evolving bustle in some skirts as early as the 1860s as the fabric was pulled to the back, draped with pleats or gathers, though unsupported by specialized hoops. The overskirt so popular with the revival of the Polonaise pulled additional fabric to the back of the skirt, the poufs supported by some substructure, often ruffled petticoats or padding. The bustle, then, is more complex than might be normally be thought and than some of the earlier foundation garments in this evolution, in part because the silhouette of hoops (and dresses) was changing so quickly in the last half of the 19th century.

[[File:La Gazette rose, 16 Mai 1874; robe à tournure.jpg|thumb|La Gazette rose, 16 Mai 1874; robe à tournure.jpg]]Trains, skirt length

In fact, fashion trends were moving so fast at this point that the two &quot;bustle periods&quot; were actually in only two decades, the 1870s and the 1880s. The height of bustle fashion lasted for these two decades, and in that time, the line of the skirts changed significantly in the 1880s in how flat the skirt was in the front and how far it extended in the back. 

This 1874 French fashion plate (right) shows two women walking in the country, the one in green with an extremely long and impractical train. 

* Often bustles appeared under an overskirt that was part of the bodice. In this case, the same fabric on the jacket front, becomes an overskirt by the way it's draped.
* Both of these have several rows of ruffles beneath the overskirt, a short-lived fashion. The ruffles create fullness in the front of the skirt at the bottom that isn't seen in the 2nd bustle period.
* Plumes makes the hats tall, part of the proportioning with the bustle.
* The dog at the feet of the woman in the green dress recalls the ubiquitous dogs in earlier portraiture.
[[File:Somm26.jpg|thumb|Somm26.jpg|left]][[File:Elizabeth Alice Austen in June 1888.jpg|thumb|Elizabeth Alice Austen in June 1888.jpg]]
The Henry Somm watercolor (left) offers a clear example of how extreme bustles got in the mid 1880s, in the 2nd bustle period. The skirt is quite narrow and flat in front with a huge bustle behind, with yards of fabric draped in poufs over the foundation substructure. This dress has no ruffles or excessive frills. The narrow sleeves and tall hat, along with the umbrella so tightly folded it looks like a stick, contribute to the lean silhouette.

The 1888 photograph of American photographer Elizabeth Alice Austen (right) is also from the 2nd bustle period. The very stylish Austen is wearing a rather extreme bustle with the slim line of the bodice and skirt. The poufs of the overskirt may be referring to the [[Social Victorians/Terminology#The 19th-century Revival of the Polonaise|Polonaise revival]]. [[File:Cperrien-fashionplatescan-p-vf 33.jpg|thumb|Cperrien-fashionplatescan-p-vf 33.jpg]]This mid-1880s fashion plate (below right) has caricatures for figures because it is a fashion plate, with exaggerated waists, feet, height, but it is useful because of the 3 different ways bustles are working in the illustration. The little girl's overskirt and sash function as a bustle, regardless of whatever foundation garments she is wearing. The two women's outfits have the characteristic narrow sleeves and tall hats, and the one in white is holding another extremely narrow umbrella as well. The trim on the white dress controls the ruffles, preventing them from sticking out. The front overskirt is very flat and the back overskirt contributes to the bustle. The front of the bodice on the green dress extends below the waist to an extreme point. A wide black ribbon bow adorns the front one of the solid black panels on the skirt. Tiny pleats peep out from below the skirt on both women's dresses. The child's dress has 3 flat pleated ruffles in front that contrast with the fuller but still controlled folds in the back.

The most common image of the bustle — the extreme form of the 1880s — required a foundation structure, one of which was &quot;steel springs placed inside the shirring [gathering] around the back of the petticoat.&quot;&lt;ref name=&quot;:7&quot; /&gt; (296) Many manufacturers were making bustles by this time, offering women a choice on the kinds of materials used in the foundation structures ['''check this'''].

== Jewelry and Stones ==

=== Cabochon ===
This term describes both the treatment and shape of a precious or semiprecious stone. A cabochon treatment does not facet the stone but merely polishes it, removing &quot;the rough parts&quot; and the parts that are not the right stone.&lt;ref&gt;&quot;cabochon, n.&quot; ''OED Online'', Oxford University Press, December 2022, www.oed.com/view/Entry/25778. Accessed 7 February 2023.&lt;/ref&gt; A cabochon shape is often flat on one side and oval or round, forming a mound in the setting.

=== Cairngorm ===
=== Half-hoop ===
Usually of a ring or bracelet, a precious-metal band with a setting of stones on one side, covering perhaps about 1/3 or 1/2 of the band. Half-hoop jewelry pieces were occasionally given as wedding gifts to the bride.

=== Jet ===

=== ''Orfèvrerie'' ===
Sometimes misspelled in the newspapers as ''orvfèvrerie''. ''Orfèvrerie'' is the artistic work of a goldsmith, silversmith, or jeweler.

=== Solitaire ===
A solitaire is a ring with a single stone set as the focal point. Solitaire rings were occasionally given as wedding gifts to the bride.

=== Turquoise ===

== Mantle, Cloak, Cape ==
In 19th-century newspaper accounts, these terms are sometimes used without precision as synonyms. These are all outer garments.

=== '''Mantle''' ===
A mantle — often a long outer garment — might have elements like a train, sleeves, collars, revers, fur, and a cape. A late-19th-century writer making a distinction between a mantle and a cloak might use ''mantle'' if the garment is more voluminous.

=== '''Cloak''' ===

=== '''Cape''' ===

== Military ==
Several men from the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball at Devonshire House]] were dressed in military uniforms, some historical and some, possibly, not.

=== Baldric ===
According to the ''Oxford English Dictionary'', the primary sense of ''baldric'' is &quot;A belt or girdle, usually of leather and richly ornamented, worn pendent from one shoulder across the breast and under the opposite arm, and used to support the wearer's sword, bugle, etc.&quot;&lt;ref&gt;&quot;baldric, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/14849. Accessed 17 May 2023.&lt;/ref&gt; This sense has been in existence since c. 1300.

=== Cuirass ===
According to the ''Oxford English Dictionary'', the primary sense of ''cuirass'' is &quot;A piece of armour for the body (originally of leather); ''spec.'' a piece reaching down to the waist, and consisting of a breast-plate and a back-plate, buckled or otherwise fastened together ....&quot;&lt;ref&gt;&quot;cuirass, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/45604. Accessed 17 May 2023.&lt;/ref&gt;

[[File:Knötel IV, 04.jpg|thumb|alt=An Old drawing in color of British soldiers on horses brandishing swords in 1815.|1890 illustration of the Household Cavalry (Life Guard, left; Horse Guard, right) at the Battle of Waterloo, 1815]]
=== Household Cavalry ===
The Royal Household contains the Household Cavalry, a corps of British Army units assigned to the monarch. It is made up of 2 regiments, the Life Guards and what is now called The Blues and Royals, which were formed around the time of &quot;the Restoration of the Monarchy in 1660.&quot;&lt;ref name=&quot;:3&quot;&gt;Joll, Christopher. &quot;Tales of the Household Cavalry, No. 1. Roles.&quot; The Household Cavalry Museum, https://householdcavalry.co.uk/app/uploads/sites/2/2021/06/Household-Cavalry-Museum-video-series-large-print-text-Tales-episode-01.pdf.&lt;/ref&gt;{{rp|1}} Regimental Historian Christopher Joll says, &quot;the original Life Guards were formed as a mounted bodyguard for the exiled King Charles II, The Blues were raised as Cromwellian cavalry and The Royals were established to defend Tangier.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|1–2}} The 1st and 2nd Life Guards were formed from &quot;the Troops of Horse and Horse Grenadier Guards ... in 1788.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} The Life Guards were and are still official bodyguards of the queen or king, but through history they have been required to do quite a bit more than serve as bodyguards for the monarch.

The Household Cavalry fought in the Battle of Waterloo on Sunday, 18 June 1815 as heavy cavalry.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} Besides arresting the Cato Steet conspirators in 1820 &quot;and guarding their subsequent execution,&quot; the Household Cavalry contributed to the &quot;the expedition to rescue General Gordon, who was trapped in Khartoum by The Mahdi and his army of insurgents&quot; in 1884.&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} In 1887 they &quot;were involved ... in the suppression of rioters in Trafalgar Square on Bloody Sunday.&quot;&lt;ref name=&quot;:3&quot; /&gt;{{rp|3}} 

==== Grenadier Guards ====
Three men — [[Social Victorians/People/Gordon-Lennox#Lord Algernon Gordon Lennox|Lord Algernon Gordon-Lennox]], [[Social Victorians/People/Stanley#Edward George Villiers Stanley, Lord Stanley|Lord Stanley]], and [[Social Victorians/People/Stanley#Hon. Ferdinand Charles Stanley|Hon. F. C. Stanley]] — attended the ball as officers of the Grenadier Guards, wearing &quot;scarlet tunics, ... full blue breeches, scarlet hose and shoes, lappet wigs&quot; as well as items associated with weapons and armor.&lt;ref name=&quot;:14&quot;&gt;“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.&lt;/ref&gt;{{rp|p. 34, Col. 2a}}

Founded in England in 1656 as Foot Guards, this infantry regiment &quot;was granted the 'Grenadier' designation by a Royal Proclamation&quot; at the end of the Napoleonic Wars.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Grenadier Guards|url=https://en.wikipedia.org/w/index.php?title=Grenadier_Guards&amp;oldid=1151238350|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Grenadier_Guards.&lt;/ref&gt; They were not called Grenadier Guards, then, before about 1815. In 1660, the Stuart Restoration, they were called Lord Wentworth's Regiment, because they were under the command of Thomas Wentworth, 5th Baron Wentworth.&lt;ref&gt;{{Cite journal|date=2022-07-24|title=Lord Wentworth's Regiment|url=https://en.wikipedia.org/w/index.php?title=Lord_Wentworth%27s_Regiment&amp;oldid=1100069077|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Wentworth%27s_Regiment.&lt;/ref&gt;

At the time of Lord Wentworth's Regiment, the style of the French cavalier had begun to influence wealthy British royalists. In the British military, a Cavalier was a wealthy follower of Charles I and Charles II — a commander, perhaps, or a field officer, but probably not a soldier.&lt;ref&gt;{{Cite journal|date=2023-04-22|title=Cavalier|url=https://en.wikipedia.org/w/index.php?title=Cavalier&amp;oldid=1151166569|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Cavalier.&lt;/ref&gt;

The Guards were busy as infantry in the 17th century, engaging in a number of armed conflicts for Great Britain, but they also served the sovereign. According to the Guards Museum,&lt;blockquote&gt;In 1678 the Guards were ordered to form Grenadier Companies, these men were the strongest and tallest of the regiment, they carried axes, hatches and grenades, they were the shock troops of their day. Instead of wearing tri-corn hats they wore a mitre shaped cap.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/|title=Service to the Crown|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-2/.&lt;/ref&gt;&lt;/blockquote&gt;The name comes from ''grenades'', then, and we are accustomed to seeing them in front of Buckingham Palace, with their tall mitre hats.

The Guard fought in the American Revolution, and in the 19th century, the Grenadier Guards fought in the Crimean War, Sudan and the Boer War. They have roles as front-line troops and as ceremonial for the sovereign, which makes them elite:&lt;blockquote&gt;Queen Victoria decreed that she did not want to see a single chevron soldier within her Guards. Other then [sic] the two senior Warrant Officers of the British Army, the senior Warrant Officers of the Foot Guards wear a large Sovereigns personal coat of arms badge on their upper arm. No other regiments of the British Army are allowed to do so; all the others wear a small coat of arms of their lower arms. Up until 1871 all officers in the Foot Guards had the privilege of having double rankings. An Ensign was ranked as an Ensign and Lieutenant, a Lieutenant as Lieutenant and Captain and a Captain as Captain and Lieutenant Colonel. This was because at the time officers purchased their own ranks and it cost more to purchase a commission in the Foot Guards than any other regiments in the British Army. For example if it cost an officer in the Foot Guards £1,000 for his first rank, in the rest of the Army it would be £500 so if he transferred to another regiment he would loose [sic] £500, hence the higher rank, if he was an Ensign in the Guards and he transferred to a Line Regiment he went in at the higher rank of Lieutenant.&lt;ref&gt;{{Cite web|url=https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/|title=Formation and role of the Regiments|website=The Guards Museum|language=en-GB|access-date=2023-05-15}} https://theguardsmuseum.com/about-the-guards/history-of-the-foot-guards/history-page-1/.&lt;/ref&gt;&lt;/blockquote&gt;

==== Life Guards ====
[[Social Victorians/People/Shrewsbury#Reginald Talbot's Costume|General the Hon. Reginald Talbot]], a member of the 1st Life Guards, attended the Duchess of Devonshire's ball dressed in the uniform of his regiment during the Battle of Waterloo.&lt;ref name=&quot;:14&quot; /&gt;{{rp|p. 36, Col. 3b}}

At the Battle of Waterloo the 1st Life Guards were part of the 1st Brigade — the Household Brigade — and were commanded by Major-General Lord Edward Somerset.&lt;ref name=&quot;:4&quot;&gt;{{Cite journal|date=2023-09-30|title=Battle of Waterloo|url=https://en.wikipedia.org/w/index.php?title=Battle_of_Waterloo&amp;oldid=1177893566|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Battle_of_Waterloo.&lt;/ref&gt; The 1st Life Guards were on &quot;the extreme right&quot; of a French countercharge and &quot;kept their cohesion and consequently suffered significantly fewer casualties.&quot;&lt;ref name=&quot;:4&quot; /&gt;
== Peplum ==
According to the French ''Wiktionnaire'', a peplum is a &quot;Short skirt or flared flounce layered at the waist of a jacket, blouse or dress&quot; [translation by Google Translate].&lt;ref&gt;{{Cite journal|date=2021-07-02|title=péplum|url=https://fr.wiktionary.org/w/index.php?title=p%C3%A9plum&amp;oldid=29547727|journal=Wiktionnaire, le dictionnaire libre|language=fr}} https://fr.wiktionary.org/wiki/p%C3%A9plum.&lt;/ref&gt; The ''Oxford English Dictionary'' has a fuller definition, although, it focuses on women's clothing because the sense is written for the present day:&lt;blockquote&gt;''Fashion''. ... a kind of overskirt resembling the ancient peplos (''obsolete''). Hence (now usually) in modern use: a short flared, gathered, or pleated strip of fabric attached at the waist of a woman's jacket, dress, or blouse to create a hanging frill or flounce.&lt;ref name=&quot;:5&quot;&gt;“peplum, n.”. ''Oxford English Dictionary'', Oxford University Press, September 2023, &lt;https://doi.org/10.1093/OED/1832614702&gt;.&lt;/ref&gt;&lt;/blockquote&gt;Men haven't worn peplums since the 18th century, except when wearing costumes based on historical portraits. The ''Daily News'' reported in 1896 that peplums had been revived as a fashion item for women.&lt;ref name=&quot;:5&quot; /&gt;

== Revers ==
According to the ''Oxford English Dictionary'', ''revers'' are the &quot;edge[s] of a garment turned back to reveal the undersurface (often at the lapel or cuff) (chiefly in ''plural''); the material covering such an edge.&quot;&lt;ref&gt;&quot;revers, n.&quot; ''OED Online'', Oxford University Press, March 2023, www.oed.com/view/Entry/164777. Accessed 17 April 2023.&lt;/ref&gt; The term is French and was used this way in the 19th century (according to the ''Wiktionnaire'').&lt;ref&gt;{{Cite journal|date=2023-03-07|title=revers|url=https://fr.wiktionary.org/w/index.php?title=revers&amp;oldid=31706560|journal=Wiktionnaire|language=fr}} https://fr.wiktionary.org/wiki/revers.&lt;/ref&gt;

== Traditional vs Progressive Style ==

=== Progressive Style ===
The terms ''artistic dress'' and ''aesthetic dress'' — as well as ''rational dress'' or ''dress reform'' — are not synonymous and were in use at different times to refer to different groups of people in different contexts, but we recognize them as referring to a similar kind of personal style in clothing, a style we call progressive dress or the progressive style. Used in a very precise way, ''artistic dress'' is associated with the Pre-Raphaelite artists and the women in their circle beginning in the 1860s. Similarly, ''aesthetic dress'' is associated with the 1880s and 1890s and dress reform movements, as is ''rational dress'', a movement located largely among women in the middle classes from the middle to the end of the century. In general, what we are calling the progressive style is characterized by its resistance to the highly structured fashion of its day, especially corseting, aniline dyes and an extremely close fit.

* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Ada Nettleship]]: Constance Wilde and Ellen Terry; an 1883 exhibition of dress by the Rational Dress Society featured her work, including trousers for women (with a short overskirt)&lt;ref&gt;{{Cite journal|date=2025-04-21|title=Ada Nettleship|url=https://en.wikipedia.org/w/index.php?title=Ada_Nettleship&amp;oldid=1286707541|journal=Wikipedia|language=en}}&lt;/ref&gt;
* [[Social Victorians/People/Dressmakers and Costumiers#Alice Comyns Carr and Ada Nettleship|Alice Comyns Carr]]&lt;ref&gt;{{Cite journal|date=2025-06-06|title=Alice Comyns Carr|url=https://en.wikipedia.org/w/index.php?title=Alice_Comyns_Carr&amp;oldid=1294283929|journal=Wikipedia|language=en}}&lt;/ref&gt;
* Grosvenor Gallery

=== Traditional Style ===
Images

* Smooth bodice, fabric draped to the back, bustle, laters: Victoria Hesse NPG 95941 crop.jpg
By the end of the century designs from the [[Social Victorians/People/Dressmakers and Costumiers#The House of Worth|House of Worth]] (or Maison Worth) define what we think of as the traditional Victorian look, which was very stylish and expensive. Blanche Payne describes an example of the 1895 &quot;high style&quot; in a gown by Worth with &quot;the idiosyncrasies of the [1890s] full blown&quot;:&lt;blockquote&gt;The dress is white silk with wine-red stripes. Sleeves, collars, bows, bag, hat, and hem border match the stripes. The sleeve has reached its maximum volume; the bosom full and emphasized with added lace; the waistline is elongated, pointed, and laced to the point of distress; the skirt is smooth over the hips, gradually swinging out to sweep the floor. This is the much vaunted hourglass figure.&lt;ref name=&quot;:11&quot; /&gt;{{rp|530}}&lt;/blockquote&gt;

The Victorian-looking gowns at the [[Social Victorians/1897 Fancy Dress Ball|Duchess of Devonshire's 1897 fancy-dress ball]] are stylish in a way that recalls the designs of the House of Worth. The elements that make their look so Victorian are anachronisms on the costumes representing fashion of earlier eras. The women wearing these gowns preferred the standards of beauty from their own day to a more-or-less historically accurate look. The style competing at the very end of the century with the Worth look was not the historical, however, but a progressive style called at the time ''artistic'' or ''aesthetic''.

William Powell Frith's 1883 painting ''A Private View at the Royal Academy, 1881'' (discussion below) pits this kind of traditional style against the progressive or artistic style.

=== The Styles ===
[[File:Frith A Private View.jpg|thumb|William Powell Frith, ''A Private View at the Royal Academy, 1881'']]
We typically think of the late-Victorian silhouette as universal but, in the periods in which corsets dominated women's dress, not all women wore corsets and not all corsets were the same, as William Powell Frith's 1883 ''A Private View at the Royal Academy, 1881'' (right) illustrates. Frith is clear in his memoir that this painting — &quot;recording for posterity the aesthetic craze as regards dress&quot; — deliberately contrasts what he calls the &quot;folly&quot; of the Artistic Dress movement and the look of the traditional corseted waist.&lt;ref&gt;Frith, William Powell. ''My Autobiography and Reminiscences''. 1887.&lt;/ref&gt; Frith considered the Artistic Movement and Artistic Dress &quot;ephemeral,&quot; but its rejection of corsetry looks far more consequential to us in hindsight than it did in the 19th century.

As Frith sees it, his painting critiques the &quot;craze&quot; associated with the women in this set of identifiable portraits who are not corseted, but his commitment to realism shows us a spectrum, a range, of conservatism and if not political then at least stylistic progressivism among the women. The progressives, oddly, are the women wearing artistic (that is, somewhat historical) dress, because they’re not corseted. It is a misreading to see the presentation of the women’s fashion as a simple opposition. Constance, Countess of Lonsdale — situated at the center of this painting with Frederick Leighton, president of the Royal Academy of Art — is the most conservatively dressed of the women depicted, with her narrow sleeves, tight waist and almost perfectly smooth bodice, which tells us that her corset has eyelets so that it can be laced precisely and tightly, and it has stays (or &quot;bones&quot;) to prevent wrinkles or natural folds in the overclothing. Lillie Langtry, in the white dress, with her stylish narrow sleeves, does not have such a tightly bound waist or smooth bodice, suggesting she may not be corseted at all, as we know she sometimes was not.['''citation'''] Jenny Trip, a painter’s model, is the woman in the green dress in the aesthetic group being inspected by Anthony Trollope, who may be taking notes. She looks like she is not wearing a corset. Both Langtry and Trip are toward the middle of this spectrum: neither is dressed in the more extreme artistic dress of, say, the two figures between Trip and Trollope.

A lot has been written about the late-Victorian attraction to historical dress, especially in the context of fancy-dress balls and the Gothic revival in social events as well as art and music. Part of the appeal has to have been the way those costumes could just be beautiful clothing beautifully made. Historical dress provided an opportunity for some elite women to wear less-structured but still beautiful and influential clothing. ['''Calvert'''&lt;ref&gt;Calvert, Robyne Erica. ''Fashioning the Artist: Artistic Dress in Victorian Britain 1848-1900''. Ph.D. thesis, University of Glasgow, 2012. &lt;nowiki&gt;https://theses.gla.ac.uk/3279/&lt;/nowiki&gt;&lt;/ref&gt;] The standards for beauty, then, with historical dress were Victorian, with the added benefit of possibly less structure. So, at the Duchess of Devonshire's ball, &quot;while some attendees tried to hew closely to historical precedent, many rendered their historical or mythological personage in the sartorial vocabulary they knew best. The [photographs of people in their costumes at the ball offer] a glimpse into how Victorians understood history, not a glimpse into the costume of an authentic historical past.&quot;&lt;ref&gt;Mitchell, Rebecca N. &quot;The Victorian Fancy Dress Ball, 1870–1900.&quot; ''Fashion Theory'' 2017 (21: 3): 291–315. DOI: 10.1080/1362704X.2016.1172817.&lt;/ref&gt; (294)

* historical dress: beautiful clothing.

* the range at the ball, from Minnie Paget to Gwladys
* &quot;In light of such efforts, the ball remains to this day one of the best documented outings of the period, and a quick glance at the album shows that ...&quot;

Women had more choices about their waists than the simple opposition between no corset and tightlacing can accommodate. The range of choices is illustrated in Frith's painting, with a woman locating herself on it at a particular moment for particular reasons. Much analysis of 19th-century corsetry focuses on its sexualizing effects — corsets dominated Victorian photographic pornography ['''citations'''] and at the same time, the absence of a corset was sexual because it suggested nudity.['''citations'''] A great deal of analysis of 19th-century corsetry, on the other hand, assumes that women wore corsets for the male gaze ['''citations'''] or that they tightened their waists to compete with other women.['''citations'''] 

But as we can see in Frith's painting, the sexualizing effect was not universal or sweeping, and these analyses do not account for the choices women had in which corset to wear or how tightly to lace it. Especially given the way that some photographic portraits were mechanically altered to make the waist appear smaller, the size of a woman's waist had to do with how she was presenting herself to the world. That is, the fact that women made choices about the size of or emphasis on their waists suggests that they had agency that needs to be taken into account. 

As they navigated the complex social world, women's fashion choices had meaning. Society or political hostesses had agency not only in their clothing but generally in that complex social world. They had roles managing social events of the upper classes, especially of the upper aristocracy and oligarchy, like the Duchess of Devonshire's ball. Their class and rank, then, were essential to their agency, including to some degree their freedom to choose what kind of corset to wear and how to wear it. Also, by the end of the century lots of different kinds of corsets were available for lots of different purposes. Special corsets existed for pregnancy, sports (like tennis, bicycling, horseback riding, golf, fencing, archery, stalking and hunting), theatre and dance and, of course, for these women corsets could be made to support the special dress worn over it.  

Women's choices in how they presented themselves to the world included more than just their foundation garments, of course. &quot;Every cap, bow, streamer, ruffle, fringe, bustle, glove,&quot; that is, the trim and decorations on their garments, their jewelry and accessories — which Davidoff calls &quot;elaborations&quot;&lt;ref name=&quot;:1&quot; /&gt;{{rp|93}} — pointed to a host of status categories, like class, rank, wealth, age, marital status, engagement with the empire, how sexual they wanted to seem, political alignment and purpose at the social event. For example, when women were being presented to the monarch, they were expected to wear three ostrich plumes, often called the [[Social Victorians/Terminology#Prince of Wales's Feathers or White Plumes|Prince of Wales's feathers]].  

Like all fashions, the corset, which was quite long-lasting in all its various forms, eventually went out of style. Of the many factors that might have influenced its demise, perhaps most important was the women's movement, in which women's rights, freedom, employment and access to their own money and children were less slogan-worthy but at least as essential as votes for women. The activities of the animal-rights movements drew attention not only to the profligate use of the bodies and feathers of birds but also to the looming extinction of the baleen whale, which made whale bone scarce and expensive. Perhaps the century's debates over corseting and especially tightlacing were relevant to some decisions not to be corseted. And, of course, perhaps no other reason is required than that the nature of fashion is to change.  

== Undergarments ==
Unlike undergarments, Victorian women's foundation garments created the distinctive silhouette. Victorian undergarments included the chemise, the bloomers, the corset cover — articles that are not structural.
The corset was an important element of the understructure of foundation garments — hoops, bustles, petticoats and so on — but it has never been the only important element. 

=== Undergarments ===

* Chemise
* Corset cover
* Bloomers
* [[Social Victorians/Terminology#Petticoat|Petticoats]] (distinguish between the outer- and undergarment type of petticoat)
* Combinations
* [[Social Victorians/Terminology#Hose, Stockings and Tights|Hose, stockings and tights]]
* Men's shirts
* Men's unders

==== Bloomers ====

==== Chemise ====
A chemise is a garment &quot;linen, homespun, or cotton knee-length garment with [a] square neck&quot; worn under all the other garments except the bloomers or combinations.&lt;ref name=&quot;:7&quot; /&gt; (61) According to Lewandowski, combinations replaced the chemise by 1890.

==== Combinations ====

=== Foundation Garments ===
Foundation structures changed the shape of the body by metal, cane, boning. Men wore corsets as well.
* [[Social Victorians/Terminology#Corset|Corset]]
* [[Social Victorians/Terminology#Hoops|Hoops]]
* Padding

==== Padding ====
Some kinds of padding were used in the Victorian age to enlarge women's bosoms and create cleavage as well as to keep elements of a garment puffy. In the Elizabethan era, men's codpieces are examples of padding.

With respect to the costumes worn at fancy-dress balls, most important would be bum rolls and cod pieces. 

What are commonly called '''bum rolls''' were sometimes called roll farthingales, French farthingales or padded rolls.

== Footnotes ==
{{reflist}}</text>
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      <text bytes="65295" sha1="ff1d3o9xogv4rqvgmnj01djzccb5m6s" xml:space="preserve">	---                                        ---
	---     LOCAL ENVIRONMENT                  ---
	---    ________________________________    ---
	---                                        ---


	--[[ Abstract utilities ]]--
	----------------------------


-- Helper function for `string.gsub()` (for managing zero-padded numbers)
local function zero_padded (str)
	return ('%03d%s'):format(#str, str)
end


-- Helper function for `table.sort()` (for natural sorting)
local function natural_sort (var1, var2)
	return tostring(var1):gsub('%d+', zero_padded) &lt;
		tostring(var2):gsub('%d+', zero_padded)
end


-- Return a copy or a reference to a table
local function copy_or_ref_table (src, refonly)
	if refonly then return src end
	newtab = {}
	for key, val in pairs(src) do newtab[key] = val end
	return newtab
end


-- Remove some numeric elements from a table, shifting everything to the left
local function remove_numeric_keys (tbl, idx, len)
	local cache = {}
	local tmp = idx + len - 1
	for key, val in pairs(tbl) do
		if type(key) == 'number' and key &gt;= idx then
			if key &gt; tmp then cache[key - len] = val end
			tbl[key] = nil
		end
	end
	for key, val in pairs(cache) do tbl[key] = val end
end


-- Make a reduced copy of a table (shifting in both directions if necessary)
local function copy_table_reduced (tbl, idx, len)
	local ret = {}
	local tmp = idx + len - 1
	if idx &gt; 0 then
		for key, val in pairs(tbl) do
			if type(key) ~= 'number' or key &lt; idx then
				ret[key] = val
			elseif key &gt; tmp then ret[key - len] = val end
		end
	elseif tmp &gt; 0 then
		local nshift = 1 - idx
		for key, val in pairs(tbl) do
			if type(key) ~= 'number' then ret[key] = val
			elseif key &gt; tmp then ret[key - tmp] = val
			elseif key &lt; idx then ret[key + nshift] = val end
		end
	else
		for key, val in pairs(tbl) do
			if type(key) ~= 'number' or key &gt; tmp then
				ret[key] = val
			elseif key &lt; idx then ret[key + len] = val end
		end
	end
	return ret
end


-- Make an expanded copy of a table (shifting in both directions if necessary)
--[[
local function copy_table_expanded (tbl, idx, len)
	local ret = {}
	local tmp = idx + len - 1
	if idx &gt; 0 then
		for key, val in pairs(tbl) do
			if type(key) ~= 'number' or key &lt; idx then
				ret[key] = val
			else ret[key + len] = val end
		end
	elseif tmp &gt; 0 then
		local nshift = idx - 1
		for key, val in pairs(tbl) do
			if type(key) ~= 'number' then ret[key] = val
			elseif key &gt; 0 then ret[key + tmp] = val
			elseif key &lt; 1 then ret[key + nshift] = val end
		end
	else
		for key, val in pairs(tbl) do
			if type(key) ~= 'number' or key &gt; tmp then
				ret[key] = val
			else ret[key - len] = val end
		end
	end
	return ret
end
]]--


-- Move a key from a table to another, but only if under a different name and
-- always parsing numeric strings as numbers
local function steal_if_renamed (val, src, skey, dest, dkey)
	local realkey = tonumber(dkey) or dkey:match'^%s*(.-)%s*$'
	if skey ~= realkey then
		dest[realkey] = val
		src[skey] = nil
	end
end


	--[[ Public strings ]]--
	------------------------


-- Special match keywords (functions and modifiers MUST avoid these names)
local mkeywords = {
	['or'] = 0,
	pattern = 1,
	plain = 2,
	strict = 3
}


-- Sort functions (functions and modifiers MUST avoid these names)
local sortfunctions = {
	--alphabetically = false, -- Simply uncommenting enables the option
	naturally = natural_sort
}


-- Callback styles for the `mapping_*` and `renaming_*` class of modifiers
-- (functions and modifiers MUST avoid these names)
--[[

Meanings of the columns:

  col[1] = Loop type (0-3)
  col[2] = Number of module arguments that the style requires (1-3)
  col[3] = Minimum number of sequential parameters passed to the callback
  col[4] = Name of the callback parameter where to place each parameter name
  col[5] = Name of the callback parameter where to place each parameter value
  col[6] = Argument in the modifier's invocation that will override `col[4]`
  col[7] = Argument in the modifier's invocation that will override `col[5]`

A value of `-1` indicates that no meaningful value is stored (i.e. `nil`)

]]--
local mapping_styles = {
	names_and_values = { 3, 2, 2, 1, 2, -1, -1 },
	values_and_names = { 3, 2, 2, 2, 1, -1, -1 },
	values_only = { 1, 2, 1, -1, 1, -1, -1 },
	names_only = { 2, 2, 1, 1, -1, -1, -1 },
	names_and_values_as = { 3, 4, 0, -1, -1, 2, 3 },
	names_only_as = { 2, 3, 0, -1, -1, 2, -1 },
	values_only_as = { 1, 3, 0, -1, -1, -1, 2 },
	blindly = { 0, 2, 0, -1, -1, -1, -1 }
}


-- Memory slots (functions and modifiers MUST avoid these names)
local memoryslots = {
	i = 'itersep',
	l = 'lastsep',
	p = 'pairsep',
	h = 'header',
	f = 'footer',
	n = 'ifngiven'
}


-- Possible trimming modes for the `parsing` modifier
local trim_parse_opts = {
	trim_none = { false, false },
	trim_positional = { false, true },
	trim_named = { true, false },
	trim_all = { true, true }
}


-- Possible string modes for the iteration separator in the `parsing` and
-- `reinterpreting` modifiers
local isep_parse_opts = {
	splitter_pattern = false,
	splitter_string = true
}


-- Possible string modes for the key-value separator in the `parsing` and
-- `reinterpreting` modifiers
local psep_parse_opts = {
	setter_pattern = false,
	setter_string = true
}


-- Functions and modifiers MUST avoid these names too: `let`


	--[[ Module's private environment ]]--
	--------------------------------------


-- Hard-coded name of the module (to avoid going through `frame:getTitle()`)
local modulename = 'Module:Params'


-- The functions listed here declare that they don't need the `frame.args`
-- metatable to be copied into a regular table; if they are modifiers they also
-- guarantee that they will make their own (modified) copy available
local refpipe = {
	call_for_each_group = true,
	coins = true,
	count = true,
	for_each = true,
	list = true,
	list_values = true,
	value_of = true
}


-- The functions listed here declare that they don't need the
-- `frame:getParent().args` metatable to be copied into a regular table; if 
-- they are modifiers they also guarantee that they will make their own
-- (modified) copy available
local refparams = {
	call_for_each_group = true,
	combining_by_calling = true,
	concat_and_call = true,
	concat_and_invoke = true,
	concat_and_magic = true,
	count = true,
	--inserting = true,
	grouping_by_calling = true,
	converting_names_to_uppercase = true,
	converting_names_to_lowercase = true,
	value_of = true,
	with_name_matching = true
}


-- Maximum number of numeric parameters that can be filled, if missing (we
-- chose an arbitrary number for this constant; you can discuss about its
-- optimal value at Module talk:Params)
local maxfill = 1024


-- The private table of functions
local library = {}


-- Functions and modifiers that can only be invoked in first position
local static_iface = {}


-- Create a new context
local function context_new (frame)
	local ctx = {}
	ctx.frame = frame
	ctx.oparams = frame.args
	ctx.firstposonly = static_iface
	ctx.iterfunc = pairs
	ctx.sorttype = 0
	ctx.n_parents = 0
	ctx.n_children = 0
	ctx.n_available = maxfill
	return ctx
end


-- Move to the next action within the user-given list
local function context_iterate (ctx, n_forward)
	local nextfn
	if ctx.pipe[n_forward] ~= nil then
		nextfn = ctx.pipe[n_forward]:match'^%s*(.*%S)'
	end
	if nextfn == nil then error(modulename ..
		': You must specify a function to call', 0) end
	if library[nextfn] == nil then
		if ctx.firstposonly[nextfn] == nil then error(modulename ..
			': The function ‘' .. nextfn .. '’ does not exist', 0)
		else error(modulename .. ': The ‘' .. nextfn ..
			'’ directive can only appear in first position', 0)
		end
	end
	remove_numeric_keys(ctx.pipe, 1, n_forward)
	return library[nextfn]
end


-- Main loop
local function main_loop (ctx, start_with)
	local fn = start_with
	repeat fn = fn(ctx) until not fn
	if ctx.n_parents &gt; 0 then error(modulename ..
		': One or more ‘merging_substack’ directives are missing', 0) end
	if ctx.n_children &gt; 0 then error(modulename ..
		', For some of the snapshots either the ‘flushing’ directive is missing or a group has not been properly closed with ‘merging_substack’', 0) end
end


-- Add a new stack of parameters to `ctx.children`
local function push_cloned_stack (ctx, tbl)
	local newparams = {}
	local currsnap = ctx.n_children + 1
	if ctx.children == nil then ctx.children = { newparams }
	else ctx.children[currsnap] = newparams end
	for key, val in pairs(tbl) do newparams[key] = val end
	ctx.n_children = currsnap
end


-- Parse optional user arguments of type `...|[let]|[...][number of additional
-- parameters]|[parameter 1]|[parameter 2]|[...]`
local function load_child_opts (src, start_from, append_after)
	local names
	local tmp
	local tbl = {}
	local pin = start_from
	if src[pin] ~= nil and src[pin]:match'^%s*let%s*$' then
		names = {}
		repeat
			tmp = src[pin + 1] or ''
			names[tonumber(tmp) or tmp:match'^%s*(.-)%s*$' or ''] =
				src[pin + 2]
			pin = pin + 3
		until src[pin] == nil or not src[pin]:match'^%s*let%s*$'
	end
	tmp = tonumber(src[pin])
	if tmp ~= nil then
		if tmp &lt; 0 then tmp = -1 end
		local shf = append_after - pin
		for idx = pin + 1, pin + tmp do tbl[idx + shf] = src[idx] end
		pin = pin + tmp + 1
	end
	if names ~= nil then
		for key, val in pairs(names) do tbl[key] = val end
	end
	return tbl, pin
end


-- Load the optional arguments of some of the `mapping_*` and `renaming_*`
-- class of modifiers
local function load_callback_opts (src, n_skip, default_style)
	local style
	local shf
	local tmp = src[n_skip + 1]
	if tmp ~= nil then style = mapping_styles[tmp:match'^%s*(.-)%s*$'] end
	if style == nil then
		style = default_style
		shf = n_skip - 1
	else shf = n_skip end
	local n_exist = style[3]
	local karg = style[4]
	local varg = style[5]
	tmp = style[6]
	if tmp &gt; -1 then
		tmp = src[tmp + shf]
		karg = tonumber(tmp)
		if karg == nil then karg = tmp:match'^%s*(.-)%s*$'
		else n_exist = math.max(n_exist, karg) end
	end
	tmp = style[7]
	if tmp &gt; -1 then
		tmp = src[tmp + shf]
		varg = tonumber(tmp)
		if varg == nil then varg = tmp:match'^%s*(.-)%s*$'
		else n_exist = math.max(n_exist, varg) end
	end
	local dest, nargs = load_child_opts(src, style[2] + shf, n_exist)
	tmp = style[1]
	if (tmp == 3 or tmp == 2) and dest[karg] ~= nil then
		tmp = tmp - 2 end
	if (tmp == 3 or tmp == 1) and dest[varg] ~= nil then
		tmp = tmp - 1 end
	return dest, nargs, tmp, karg, varg
end


-- Parse the arguments of some of the `mapping_*` and `renaming_*` class of
-- modifiers
local function load_replace_args (opts, fname)
	if opts[1] == nil then error(modulename ..
		', ‘' .. fname .. '’: No pattern string was given', 0) end
	if opts[2] == nil then error(modulename ..
		', ‘' .. fname .. '’: No replacement string was given', 0) end
	local ptn = opts[1]
	local repl = opts[2]
	local argc = 3
	local nmax = tonumber(opts[3])
	if nmax ~= nil or (opts[3] or ''):match'^%s*$' ~= nil then argc = 4 end
	local flg = opts[argc]
	if flg ~= nil then flg = mkeywords[flg:match'^%s*(.-)%s*$'] end
	if flg == 0 then flg = nil elseif flg ~= nil then argc = argc + 1 end
	return ptn, repl, nmax, flg == 3, argc, (nmax ~= nil and nmax &lt; 1) or
		(flg == 3 and ptn == repl)
end


-- Parse the arguments of the `with_*_matching` class of modifiers
local function load_pattern_args (opts, fname)
	local state = 0
	local cnt = 1
	local keyw
	local nptns = 0
	local ptns = {}
	for _, val in ipairs(opts) do
		if state == 0 then
			nptns = nptns + 1
			ptns[nptns] = { val, false, false }
			state = -1
		else
			keyw = val:match'^%s*(.*%S)'
			if keyw == nil or mkeywords[keyw] == nil or (
				state &gt; 0 and mkeywords[keyw] &gt; 0
			) then break
			else
				state = mkeywords[keyw]
				if state &gt; 1 then ptns[nptns][2] = true end
				if state == 3 then ptns[nptns][3] = true end
			end
		end
		cnt = cnt + 1
	end
	if state == 0 then error(modulename .. ', ‘' .. fname ..
		'’: No pattern was given', 0) end
	return ptns, nptns, cnt
end


-- Load the optional arguments of the `parsing` and `reinterpreting` modifiers
local function load_parse_opts (opts, start_from)
	local argc = start_from
	local tmp
	local optslots = { true, true, true }
	local noptslots = 3
	local trimn = true
	local trimu = false
	local iplain = true
	local pplain = true
	local isp = '|'
	local psp = '='
	repeat
		noptslots = noptslots - 1
		tmp = opts[argc]
		if tmp == nil then break end
		tmp = tmp:match'^%s*(.-)%s*$'
		if optslots[1] ~= nil and trim_parse_opts[tmp] ~= nil then
			tmp = trim_parse_opts[tmp]
			trimn = tmp[1]
			trimu = tmp[2]
			optslots[1] = nil
		elseif optslots[2] ~= nil and isep_parse_opts[tmp] ~= nil then
			argc = argc + 1
			iplain = isep_parse_opts[tmp]
			isp = opts[argc]
			optslots[2] = nil
		elseif optslots[3] ~= nil and psep_parse_opts[tmp] ~= nil then
			argc = argc + 1
			pplain = psep_parse_opts[tmp]
			psp = opts[argc]
			optslots[3] = nil
		else break end
		argc = argc + 1
	until noptslots &lt; 1
	return isp, iplain, psp, pplain, trimn, trimu, argc
end


-- Map parameters' values using a custom callback and a referenced table
local value_maps = {
	[0] = function (tbl, margs, karg, varg, fn)
		for key in pairs(tbl) do tbl[key] = fn() end
	end,
	[1] = function (tbl, margs, karg, varg, fn)
		for key, val in pairs(tbl) do
			margs[varg] = val
			tbl[key] = fn()
		end
	end,
	[2] = function (tbl, margs, karg, varg, fn)
		for key in pairs(tbl) do
			margs[karg] = key
			tbl[key] = fn()
		end
	end,
	[3] = function (tbl, margs, karg, varg, fn)
		for key, val in pairs(tbl) do
			margs[karg] = key
			margs[varg] = val
			tbl[key] = fn()
		end
	end
}


-- Private table for `map_names()`
local name_thieves_maps = {
	[0] = function (cache, tbl, rargs, karg, varg, fn)
		for key, val in pairs(tbl) do
			steal_if_renamed(val, tbl, key, cache, fn())
		end
	end,
	[1] = function (cache, tbl, rargs, karg, varg, fn)
		for key, val in pairs(tbl) do
			rargs[varg] = val
			steal_if_renamed(val, tbl, key, cache, fn())
		end
	end,
	[2] = function (cache, tbl, rargs, karg, varg, fn)
		for key, val in pairs(tbl) do
			rargs[karg] = key
			steal_if_renamed(val, tbl, key, cache, fn())
		end
	end,
	[3] = function (cache, tbl, rargs, karg, varg, fn)
		for key, val in pairs(tbl) do
			rargs[karg] = key
			rargs[varg] = val
			steal_if_renamed(val, tbl, key, cache, fn())
		end
	end
}


-- Map parameters' names using a custom callback and a referenced table
local function map_names (tbl, rargs, karg, varg, looptype, fn)
	local cache = {}
	name_thieves_maps[looptype](cache, tbl, rargs, karg, varg, fn)
	for key, val in pairs(cache) do tbl[key] = val end
end


-- Return a new table that contains `src` regrouped according to the numeric
-- suffixes in its keys
local function make_groups (src)
	-- NOTE: `src` might be the original metatable!
	local tmp
	local prefix
	local gid
	local groups = {}
	for key, val in pairs(src) do
		-- `key` must only be a string or a number...
		gid = tonumber(key)
		if gid == nil then
			prefix, gid = key:match'^%s*(.-)%s*(%-?%d*)%s*$'
			gid = tonumber(gid) or ''
		else prefix = '' end
		if groups[gid] == nil then groups[gid] = {} end
		tmp = tonumber(prefix)
		if tmp ~= nil then
			if tmp &lt; 1 then prefix = tmp - 1 else prefix = tmp end
		end
		groups[gid][prefix] = val
	end
	return groups
end


-- Populate a table by parsing a parameter string
local function parse_parameter_string (tbl, str, isp, ipl, psp, ppl, trn, tru)
	local key
	local val
	local spos1
	local spos2
	local pos1
	local pos2
	local pos3 = 0
	local idx = 1
	local lenplone = #str + 1
	if isp == nil or isp == '' then
		if psp == nil or psp == '' then
			if tru then tbl[idx] = str:match'^%s*(.-)%s*$'
			else tbl[idx] = str end
			return tbl
		end
		spos1, spos2 = str:find(psp, 1, ppl)
		if spos1 == nil then
			key = idx
			if tru then val = str:match'^%s*(.-)%s*$'
			else val = str end
			idx = idx + 1
		else
			key = str:sub(1, spos1 - 1)
			key = tonumber(key) or key:match'^%s*(.-)%s*$'
			val = str:sub(spos2 + 1)
			if trn then val = val:match'^%s*(.-)%s*$' end
		end
		tbl[key] = val
		return tbl
	end
	if psp == nil or psp == '' then
		repeat
			pos1 = pos3 + 1
			pos2, pos3 = str:find(isp, pos1, ipl)
			val = str:sub(pos1, (pos2 or lenplone) - 1)
			if tru then val = val:match'^%s*(.-)%s*$' end
			tbl[idx] = val
			idx = idx + 1
		until pos2 == nil
		return tbl
	end
	repeat
		pos1 = pos3 + 1
		pos2, pos3 = str:find(isp, pos1, ipl)
		val = str:sub(pos1, (pos2 or lenplone) - 1)
		spos1, spos2 = val:find(psp, 1, ppl)
		if spos1 == nil then
			key = idx
			if tru then val = val:match'^%s*(.-)%s*$' end
			idx = idx + 1
		else
			key = val:sub(1, spos1 - 1)
			key = tonumber(key) or key:match'^%s*(.-)%s*$'
			val = val:sub(spos2 + 1)
			if trn then val = val:match'^%s*(.-)%s*$' end
		end
		tbl[key] = val
	until pos2 == nil
	return tbl
end


-- Concatenate the numeric keys from the table of parameters to the numeric
-- keys from the table of options; non-numeric keys from the table of options
-- will prevail over colliding non-numeric keys from the table of parameters
local function concat_params (ctx)
	local tbl = ctx.params
	local nmax = table.maxn(ctx.pipe)
	local retval = {}
	if ctx.subset == 1 then
		-- We need only the sequence
		for key, val in ipairs(tbl) do retval[key + nmax] = val end
	else
		if ctx.subset == -1 then
			for key in ipairs(tbl) do tbl[key] = nil end
		end
		for key, val in pairs(tbl) do
			if type(key) == 'number' and key &gt; 0 then
				retval[key + nmax] = val
			else retval[key] = val end
		end
	end
	for key, val in pairs(ctx.pipe) do retval[key] = val end
	return retval
end


-- Flush the parameters by calling a custom function for each value (after this
-- function has been invoked `ctx.params` will be no longer usable)
local function flush_params (ctx, fn)
	local tbl = ctx.params
	if ctx.subset == 1 then
		for key, val in ipairs(tbl) do fn(key, val) end
		return
	end
	if ctx.subset == -1 then
		for key, val in ipairs(tbl) do tbl[key] = nil end
	end
	if ctx.sorttype &gt; 0 then
		local nums = {}
		local words = {}
		local nn = 0
		local nw = 0
		for key, val in pairs(tbl) do
			if type(key) == 'number' then
				nn = nn + 1
				nums[nn] = key
			else
				nw = nw + 1
				words[nw] = key
			end
		end
		table.sort(nums)
		table.sort(words, natural_sort)
		if ctx.sorttype == 2 then
			for idx = 1, nw do fn(words[idx], tbl[words[idx]]) end
			for idx = 1, nn do fn(nums[idx], tbl[nums[idx]]) end
			return
		end
		for idx = 1, nn do fn(nums[idx], tbl[nums[idx]]) end
		for idx = 1, nw do fn(words[idx], tbl[words[idx]]) end
		return
	end
	if ctx.subset ~= -1 then
		for key, val in ipairs(tbl) do
			fn(key, val)
			tbl[key] = nil
		end
	end
	for key, val in pairs(tbl) do fn(key, val) end
end


	--[[ Modifiers ]]--
	-----------------------------


-- Syntax:  #invoke:params|sequential|pipe to
library.sequential = function (ctx)
	if ctx.subset == -1 then error(modulename ..
		': The two directives ‘non-sequential’ and ‘sequential’ are in contradiction with each other', 0) end
	if ctx.sorttype &gt; 0 then error(modulename ..
		': The ‘all_sorted’ and ‘reassorted’ directives are redundant when followed by ‘sequential’', 0) end
	ctx.iterfunc = ipairs
	ctx.subset = 1
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|non-sequential|pipe to
library['non-sequential'] = function (ctx)
	if ctx.subset == 1 then error(modulename ..
		': The two directives ‘sequential’ and ‘non-sequential’ are in contradiction with each other', 0) end
	ctx.iterfunc = pairs
	ctx.subset = -1
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|all_sorted|pipe to
library.all_sorted = function (ctx)
	if ctx.subset == 1 then error(modulename ..
		': The ‘all_sorted’ directive is redundant after ‘sequential’', 0) end
	if ctx.sorttype == 2 then error(modulename ..
		': The two directives ‘reassorted’ and ‘sequential’ are in contradiction with each other', 0) end
	ctx.sorttype = 1
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|reassorted|pipe to
library.reassorted = function (ctx)
	if ctx.subset == 1 then error(modulename ..
		': The ‘reassorted’ directive is redundant after ‘sequential’', 0) end
	if ctx.sorttype == 1 then error(modulename ..
		': The two directives ‘sequential’ and ‘reassorted’ are in contradiction with each other', 0) end
	ctx.sorttype = 2
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|setting|directives|...|pipe to
library.setting = function (ctx)
	local opts = ctx.pipe
	local cmd = opts[1]
	if cmd ~= nil then
		cmd = cmd:gsub('%s+', ''):gsub('/+', '/'):match'^/*(.*[^/])'
	end
	if cmd == nil then error(modulename ..
		', ‘setting’: No directive was given', 0) end
	local sep = string.byte('/')
	local argc = 2
	local dest = {}
	local vname
	local chr
	for idx = 1, #cmd do
		chr = cmd:byte(idx)
		if chr == sep then
			for key, val in ipairs(dest) do
				ctx[val] = opts[argc]
				dest[key] = nil
			end
			argc = argc + 1
		else
			vname = memoryslots[string.char(chr)]
			if vname == nil then error(modulename ..
				', ‘setting’: Unknown slot ‘' ..
				string.char(chr) .. '’', 0) end
			table.insert(dest, vname)
		end
	end
	for key, val in ipairs(dest) do ctx[val] = opts[argc] end
	return context_iterate(ctx, argc + 1)
end


-- Syntax:  #invoke:params|squeezing|pipe to
library.squeezing = function (ctx)
	local tbl = ctx.params
	local store = {}
	local indices = {}
	local newlen = 0
	for key, val in pairs(tbl) do
		if type(key) == 'number' then
			newlen = newlen + 1
			indices[newlen] = key
			store[key] = val
			tbl[key] = nil
		end
	end
	table.sort(indices)
	for idx = 1, newlen do tbl[idx] = store[indices[idx]] end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|filling_the_gaps|pipe to
library.filling_the_gaps = function (ctx)
	local tbl = ctx.params
	local nmin = 1
	local nmax = nil
	local nnums = -1
	local tmp = {}
	for key, val in pairs(tbl) do
		if type(key) == 'number' then
			if nmax == nil then
				if key &lt; nmin then nmin = key end
				nmax = key
			elseif key &gt; nmax then nmax = key
			elseif key &lt; nmin then nmin = key end
			nnums = nnums + 1
			tmp[key] = val
		end
	end
	if nmax ~= nil and nmax - nmin &gt; nnums then
		ctx.n_available = ctx.n_available + nmin + nnums - nmax
		if ctx.n_available &lt; 0 then error(modulename ..
			', ‘filling_the_gaps’: It is possible to fill at most ' ..
			tostring(maxfill) .. ' parameters', 0) end
		for idx = nmin, nmax, 1 do tbl[idx] = '' end
		for key, val in pairs(tmp) do tbl[key] = val end
	end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|clearing|pipe to
library.clearing = function (ctx)
	local tbl = ctx.params
	local numerics = {}
	for key, val in pairs(tbl) do
		if type(key) == 'number' then
			numerics[key] = val
			tbl[key] = nil
		end
	end
	for key, val in ipairs(numerics) do tbl[key] = val end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|cutting|left cut|right cut|pipe to
library.cutting = function (ctx)
	local lcut = tonumber(ctx.pipe[1])
	if lcut == nil then error(modulename ..
		', ‘cutting’: Left cut must be a number', 0) end
	local rcut = tonumber(ctx.pipe[2])
	if rcut == nil then error(modulename ..
		', ‘cutting’: Right cut must be a number', 0) end
	local tbl = ctx.params
	local len = #tbl
	if lcut &lt; 0 then lcut = len + lcut end
	if rcut &lt; 0 then rcut = len + rcut end
	local tot = lcut + rcut
	if tot &gt; 0 then
		local cache = {}
		if tot &gt;= len then
			for key in ipairs(tbl) do tbl[key] = nil end
			tot = len
		else
			for idx = len - rcut + 1, len, 1 do tbl[idx] = nil end
			for idx = 1, lcut, 1 do tbl[idx] = nil end
		end
		for key, val in pairs(tbl) do
			if type(key) == 'number' and key &gt; 0 then
				if key &gt; len then cache[key - tot] = val
				else cache[key - lcut] = val end
				tbl[key] = nil
			end
		end
		for key, val in pairs(cache) do tbl[key] = val end
	end
	return context_iterate(ctx, 3)
end


-- Syntax:  #invoke:params|cropping|left crop|right crop|pipe to
library.cropping = function (ctx)
	local lcut = tonumber(ctx.pipe[1])
	if lcut == nil then error(modulename ..
		', ‘cropping’: Left crop must be a number', 0) end
	local rcut = tonumber(ctx.pipe[2])
	if rcut == nil then error(modulename ..
		', ‘cropping’: Right crop must be a number', 0) end
	local tbl = ctx.params
	local nmin
	local nmax
	for key in pairs(tbl) do
		if type(key) == 'number' then
			if nmin == nil then
				nmin = key
				nmax = key
			elseif key &gt; nmax then nmax = key
			elseif key &lt; nmin then nmin = key end
		end
	end
	if nmin ~= nil then
		local len = nmax - nmin + 1
		if lcut &lt; 0 then lcut = len + lcut end
		if rcut &lt; 0 then rcut = len + rcut end
		if lcut + rcut - len &gt; -1 then
			for key in pairs(tbl) do
				if type(key) == 'number' then tbl[key] = nil end
			end
		elseif lcut + rcut &gt; 0 then
			for idx = nmax - rcut + 1, nmax do tbl[idx] = nil end
			for idx = nmin, nmin + lcut - 1 do tbl[idx] = nil end
			local lshift = nmin + lcut - 1
			if lshift &gt; 0 then
				for idx = lshift + 1, nmax, 1 do
					tbl[idx - lshift] = tbl[idx]
					tbl[idx] = nil
				end
			end
		end
	end
	return context_iterate(ctx, 3)
end


-- Syntax:  #invoke:params|purging|start offset|length|pipe to
library.purging = function (ctx)
	local idx = tonumber(ctx.pipe[1])
	if idx == nil then error(modulename ..
		', ‘purging’: Start offset must be a number', 0) end
	local len = tonumber(ctx.pipe[2])
	if len == nil then error(modulename ..
		', ‘purging’: Length must be a number', 0) end
	local tbl = ctx.params
	if len &lt; 1 then
		len = len + table.maxn(tbl)
		if idx &gt; len then return context_iterate(ctx, 3) end
		len = len - idx + 1
	end
	ctx.params = copy_table_reduced(tbl, idx, len)
	return context_iterate(ctx, 3)
end


-- Syntax:  #invoke:params|backpurging|start offset|length|pipe to
library.backpurging = function (ctx)
	local last = tonumber(ctx.pipe[1])
	if last == nil then error(modulename ..
		', ‘backpurging’: Start offset must be a number', 0) end
	local len = tonumber(ctx.pipe[2])
	if len == nil then error(modulename ..
		', ‘backpurging’: Length must be a number', 0) end
	local idx
	local tbl = ctx.params
	if len &gt; 0 then
		idx = last - len + 1
	else
		for key in pairs(tbl) do
			if type(key) == 'number' and (idx == nil or
				key &lt; idx) then idx = key end
		end
		if idx == nil then return context_iterate(ctx, 3) end
		idx = idx - len
		if last &lt; idx then return context_iterate(ctx, 3) end
		len = last - idx + 1
	end
	ctx.params = copy_table_reduced(ctx.params, idx, len)
	return context_iterate(ctx, 3)
end


-- Syntax:  #invoke:params|rotating|pipe to
library.rotating = function (ctx)
	local tbl = ctx.params
	local numerics = {}
	local nmax = 0
	for key, val in pairs(tbl) do
		if type(key) == 'number' then
			numerics[key] = val
			tbl[key] = nil
			if key &gt; nmax then nmax = key end
		end
	end
	for key, val in pairs(numerics) do tbl[nmax - key + 1] = val end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|pivoting|pipe to
--[[
library.pivoting = function (ctx)
	local tbl = ctx.params
	local shift = #tbl + 1
	if shift &lt; 2 then return library.rotating(ctx) end
	local numerics = {}
	for key, val in pairs(tbl) do
		if type(key) == 'number' then
			numerics[key] = val
			tbl[key] = nil
		end
	end
	for key, val in pairs(numerics) do tbl[shift - key] = val end
	return context_iterate(ctx, 1)
end
]]--


-- Syntax:  #invoke:params|mirroring|pipe to
--[[
library.mirroring = function (ctx)
	local tbl = ctx.params
	local numerics = {}
	local nmax
	local nmin
	for key, val in pairs(tbl) do
		if type(key) == 'number' then
			numerics[key] = val
			tbl[key] = nil
			if nmax == nil then
				nmax = key
				nmin = key
			elseif key &gt; nmax then nmax = key
			elseif key &lt; nmin then nmin = key end
		end
	end
	for key, val in pairs(numerics) do tbl[nmax + nmin - key] = val end
	return context_iterate(ctx, 1)
end
]]--


-- Syntax:  #invoke:params|swapping|pipe to
--[[
library.swapping = function (ctx)
	local tbl = ctx.params
	local cache = {}
	local nsize = 0
	local tmp
	for key in pairs(tbl) do
		if type(key) == 'number' then
			nsize = nsize + 1
			cache[nsize] = key
		end
	end
	table.sort(cache)
	for idx = math.floor(nsize / 2), 1, -1 do
		tmp = tbl[cache[idx] ]
		tbl[cache[idx] ] = tbl[cache[nsize - idx + 1] ]
		tbl[cache[nsize - idx + 1] ] = tmp
	end
	return context_iterate(ctx, 1)
end
]]--


-- Syntax:  #invoke:params|sorting_sequential_values|[criterion]|pipe to
library.sorting_sequential_values = function (ctx)
	local sortfn
	if ctx.pipe[1] ~= nil then sortfn = sortfunctions[ctx.pipe[1]] end
	if sortfn then table.sort(ctx.params, sortfn)
	else table.sort(ctx.params) end -- i.e. either `false` or `nil`
	if sortfn == nil then return context_iterate(ctx, 1) end
	return context_iterate(ctx, 2)
end


-- Syntax:  #invoke:params|inserting|position|how many|...|pipe to
--[[
library.inserting = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable! As a modifier,
	-- this function MUST create a copy of it before returning
	local idx = tonumber(ctx.pipe[1])
	if idx == nil then error(modulename ..
		', ‘inserting’: Position must be a number', 0) end
	local len = tonumber(ctx.pipe[2])
	if len == nil or len &lt; 1 then error(modulename ..
		', ‘inserting’: The amount must be a number greater than zero', 0) end
	local opts = ctx.pipe
	local tbl = copy_table_expanded(ctx.params, idx, len)
	for key = idx, idx + len - 1 do tbl[key] = opts[key - idx + 3] end
	ctx.params = tbl
	return context_iterate(ctx, len + 3)
end
]]--


-- Syntax:  #invoke:params|imposing|name|value|pipe to
library.imposing = function (ctx)
	if ctx.pipe[1] == nil then error(modulename ..
		', ‘imposing’: Missing parameter name to impose', 0) end
	local key = ctx.pipe[1]:match'^%s*(.-)%s*$'
	ctx.params[tonumber(key) or key] = ctx.pipe[2]
	return context_iterate(ctx, 3)
end


-- Syntax:  #invoke:params|providing|name|value|pipe to
library.providing = function (ctx)
	if ctx.pipe[1] == nil then error(modulename ..
		', ‘providing’: Missing parameter name to provide', 0) end
	local key = ctx.pipe[1]:match'^%s*(.-)%s*$'
	key = tonumber(key) or key
	if ctx.params[key] == nil then ctx.params[key] = ctx.pipe[2] end
	return context_iterate(ctx, 3)
end


-- Syntax:  #invoke:params|discarding|name|[how many]|pipe to
library.discarding = function (ctx)
	if ctx.pipe[1] == nil then error(modulename ..
		', ‘discarding’: Missing parameter name to discard', 0) end
	local key = ctx.pipe[1]
	local len = tonumber(ctx.pipe[2])
	if len == nil then
		ctx.params[tonumber(key) or key:match'^%s*(.-)%s*$'] = nil
		return context_iterate(ctx, 2)
	end
	key = tonumber(key)
	if key == nil then error(modulename ..
		', ‘discarding’: A range was provided, but the initial parameter name is not numeric', 0) end
	if len &lt; 1 then error(modulename ..
		', ‘discarding’: A range can only be a number greater than zero', 0) end
	for idx = key, key + len - 1 do ctx.params[idx] = nil end
	return context_iterate(ctx, 3)
end


-- Syntax:  #invoke:params|excluding_non-numeric_names|pipe to
library['excluding_non-numeric_names'] = function (ctx)
	local tmp = ctx.params
	for key, val in pairs(tmp) do
		if type(key) ~= 'number' then tmp[key] = nil end
	end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|excluding_numeric_names|pipe to
library.excluding_numeric_names = function (ctx)
	local tmp = ctx.params
	for key, val in pairs(tmp) do
		if type(key) == 'number' then tmp[key] = nil end
	end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|with_name_matching|target 1|[plain flag 1]|[or]
--            |[target 2]|[plain flag 2]|[or]|[...]|[target N]|[plain flag
--            N]|pipe to
library.with_name_matching = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable! As a modifier,
	-- this function MUST create a copy of it before returning
	local targets, nptns, argc = load_pattern_args(ctx.pipe, targets,
		'with_name_matching')
	local tmp
	local ptn
	local tbl = ctx.params
	local newparams = {}
	for idx = 1, nptns do
		ptn = targets[idx]
		if ptn[3] then
			tmp = tonumber(ptn[1]) or ptn[1]
			newparams[tmp] = tbl[tmp]
		else
			for key, val in pairs(tbl) do
				if tostring(key):find(ptn[1], 1, ptn[2]) then
					newparams[key] = val
				end
			end
		end
	end
	ctx.params = newparams
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|with_name_not_matching|target 1|[plain flag 1]
--            |[and]|[target 2]|[plain flag 2]|[and]|[...]|[target N]|[plain
--            flag N]|pipe to
library.with_name_not_matching = function (ctx)
	local targets, nptns, argc = load_pattern_args(ctx.pipe, targets,
		'with_name_not_matching')
	local tbl = ctx.params
	if nptns == 1 and targets[1][3] then
		local tmp = targets[1][1]
		tbl[tonumber(tmp) or tmp] = nil
		return context_iterate(ctx, argc)
	end
	local yesmatch
	local ptn
	for key in pairs(tbl) do
		yesmatch = true
		for idx = 1, nptns do
			ptn = targets[idx]
			if ptn[3] then
				if tostring(key) ~= ptn[1] then
					yesmatch = false
					break
				end
			elseif not tostring(key):find(ptn[1], 1, ptn[2]) then
				yesmatch = false
				break
			end
		end
		if yesmatch then tbl[key] = nil end
	end
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|with_value_matching|target 1|[plain flag 1]|[or]
--            |[target 2]|[plain flag 2]|[or]|[...]|[target N]|[plain flag
--            N]|pipe to
library.with_value_matching = function (ctx)
	local tbl = ctx.params
	local targets, nptns, argc = load_pattern_args(ctx.pipe, targets,
		'with_value_matching')
	local nomatch
	local ptn
	for key, val in pairs(tbl) do
		nomatch = true
		for idx = 1, nptns do
			ptn = targets[idx]
			if ptn[3] then
				if val == ptn[1] then
					nomatch = false
					break
				end
			elseif val:find(ptn[1], 1, ptn[2]) then
				nomatch = false
				break
			end
		end
		if nomatch then tbl[key] = nil end
	end
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|with_value_not_matching|target 1|[plain flag 1]
--            |[and]|[target 2]|[plain flag 2]|[and]|[...]|[target N]|[plain
--            flag N]|pipe to
library.with_value_not_matching = function (ctx)
	local tbl = ctx.params
	local targets, nptns, argc = load_pattern_args(ctx.pipe, targets,
		'with_value_not_matching')
	local yesmatch
	local ptn
	for key, val in pairs(tbl) do
		yesmatch = true
		for idx = 1, nptns do
			ptn = targets[idx]
			if ptn[3] then
				if val ~= ptn[1] then
					yesmatch = false
					break
				end
			elseif not val:find(ptn[1], 1, ptn[2]) then
				yesmatch = false
				break
			end
		end
		if yesmatch then tbl[key] = nil end
	end
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|trimming_values|pipe to
library.trimming_values = function (ctx)
	local tbl = ctx.params
	for key, val in pairs(tbl) do tbl[key] = val:match'^%s*(.-)%s*$' end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|converting_values_to_lowercase|pipe to
library.converting_values_to_lowercase = function (ctx)
	local tbl = ctx.params
	for key, val in pairs(tbl) do tbl[key] = val:lower() end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|converting_values_to_uppercase|pipe to
library.converting_values_to_uppercase = function (ctx)
	local tbl = ctx.params
	for key, val in pairs(tbl) do tbl[key] = val:upper() end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|mapping_by_calling|template name|[call
--            style]|[let]|[...][number of additional parameters]|[parameter
--            1]|[parameter 2]|[...]|[parameter N]|pipe to
library.mapping_by_calling = function (ctx)
	local opts = ctx.pipe
	local tname
	if opts[1] ~= nil then tname = opts[1]:match'^%s*(.*%S)' end
	if tname == nil then error(modulename ..
		', ‘mapping_by_calling’: No template name was provided', 0) end
	local margs, argc, looptype, karg, varg = load_callback_opts(opts, 1,
		mapping_styles.values_only)
	local model = { title = tname, args = margs }
	value_maps[looptype](ctx.params, margs, karg, varg, function ()
		return ctx.frame:expandTemplate(model)
	end)
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|mapping_by_invoking|module name|function
--            name|[call style]|[let]|[...]|[number of additional
--            arguments]|[argument 1]|[argument 2]|[...]|[argument N]|pipe to
library.mapping_by_invoking = function (ctx)
	local opts = ctx.pipe
	local mname
	local fname
	if opts[1] ~= nil then mname = opts[1]:match'^%s*(.*%S)' end
	if mname == nil then error(modulename ..
		', ‘mapping_by_invoking’: No module name was provided', 0) end
	if opts[2] ~= nil then fname = opts[2]:match'^%s*(.*%S)' end
	if fname == nil then error(modulename ..
		', ‘mapping_by_invoking’: No function name was provided', 0) end
	local margs, argc, looptype, karg, varg = load_callback_opts(opts, 2,
		mapping_styles.values_only)
	local model = { title = 'Module:' .. mname, args = margs }
	local mfunc = require(model.title)[fname]
	if mfunc == nil then error(modulename ..
		', ‘mapping_by_invoking’: The function ‘' .. fname ..
		'’ does not exist', 0) end
	value_maps[looptype](ctx.params, margs, karg, varg, function ()
		return tostring(mfunc(ctx.frame:newChild(model)))
	end)
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|mapping_by_magic|parser function|[call
--            style]|[let]|[...][number of additional arguments]|[argument
--            1]|[argument 2]|[...]|[argument N]|pipe to
library.mapping_by_magic = function (ctx)
	local opts = ctx.pipe
	local magic
	if opts[1] ~= nil then magic = opts[1]:match'^%s*(.*%S)' end
	if magic == nil then error(modulename ..
		', ‘mapping_by_magic’: No parser function was provided', 0) end
	local margs, argc, looptype, karg, varg = load_callback_opts(opts, 1,
		mapping_styles.values_only)
	value_maps[looptype](ctx.params, margs, karg, varg, function ()
		return ctx.frame:callParserFunction(magic, margs)
	end)
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|mapping_by_replacing|target|replace|[count]|[plain
--            flag]|pipe to
library.mapping_by_replacing = function (ctx)
	local ptn, repl, nmax, is_strict, argc, die =
		load_replace_args(ctx.pipe, 'mapping_by_replacing')
	if die then return context_iterate(ctx, argc) end
	local tbl = ctx.params
	if is_strict then
		for key, val in pairs(tbl) do
			if val == ptn then tbl[key] = repl end
		end
	else
		if flg == 2 then
			-- Copied from Module:String's `str._escapePattern()`
			ptn = ptn:gsub('[%(%)%.%%%+%-%*%?%[%^%$%]]', '%%%0')
		end
		for key, val in pairs(tbl) do
			tbl[key] = val:gsub(ptn, repl, nmax)
		end
	end
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|converting_names_to_lowercase|pipe to
library.converting_names_to_lowercase = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable! As a modifier,
	-- this function MUST create a copy of it before returning
	local cache = {}
	for key, val in pairs(ctx.params) do
		if type(key) == 'string' then cache[key:lower()] = val else
		cache[key] = val end
	end
	ctx.params = cache
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|converting_names_to_uppercase|pipe to
library.converting_names_to_uppercase = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable! As a modifier,
	-- this function MUST create a copy of it before returning
	local cache = {}
	for key, val in pairs(ctx.params) do
		if type(key) == 'string' then cache[key:upper()] = val else
		cache[key] = val end
	end
	ctx.params = cache
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|renaming_by_calling|template name|[call
--            style]|[let]|[...][number of additional parameters]|[parameter
--            1]|[parameter 2]|[...]|[parameter N]|pipe to
library.renaming_by_calling = function (ctx)
	local opts = ctx.pipe
	local tname
	if opts[1] ~= nil then tname = opts[1]:match'^%s*(.*%S)' end
	if tname == nil then error(modulename ..
		', ‘renaming_by_calling’: No template name was provided', 0) end
	local rargs, argc, looptype, karg, varg = load_callback_opts(opts, 1,
		mapping_styles.names_only)
	local model = { title = tname, args = rargs }
	map_names(ctx.params, rargs, karg, varg, looptype, function ()
		return ctx.frame:expandTemplate(model)
	end)
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|renaming_by_invoking|module name|function
--            name|[call style]|[let]|[...]|[number of additional
--            arguments]|[argument 1]|[argument 2]|[...]|[argument N]|pipe to
library.renaming_by_invoking = function (ctx)
	local opts = ctx.pipe
	local mname
	local fname
	if opts[1] ~= nil then mname = opts[1]:match'^%s*(.*%S)' end
	if mname == nil then error(modulename ..
		', ‘renaming_by_invoking’: No module name was provided', 0) end
	if opts[2] ~= nil then fname = opts[2]:match'^%s*(.*%S)' end
	if fname == nil then error(modulename ..
		', ‘renaming_by_invoking’: No function name was provided', 0) end
	local rargs, argc, looptype, karg, varg = load_callback_opts(opts, 2,
		mapping_styles.names_only)
	local model = { title = 'Module:' .. mname, args = rargs }
	local mfunc = require(model.title)[fname]
	if mfunc == nil then error(modulename ..
		', ‘renaming_by_invoking’: The function ‘' .. fname ..
		'’ does not exist', 0) end
	map_names(ctx.params, rargs, karg, varg, looptype, function ()
		local tmp = mfunc(ctx.frame:newChild(model))
		return tonumber(tmp) or tostring(tmp)
	end)
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|renaming_by_magic|parser function|[call
--            style]|[let]|[...][number of additional arguments]|[argument
--            1]|[argument 2]|[...]|[argument N]|pipe to
library.renaming_by_magic = function (ctx)
	local opts = ctx.pipe
	local magic
	if opts[1] ~= nil then magic = opts[1]:match'^%s*(.*%S)' end
	if magic == nil then error(modulename ..
		', ‘renaming_by_magic’: No parser function was provided', 0) end
	local rargs, argc, looptype, karg, varg = load_callback_opts(opts, 1,
		mapping_styles.names_only)
	map_names(ctx.params, rargs, karg, varg, looptype, function ()
		return ctx.frame:callParserFunction(magic, rargs)
	end)
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|renaming_by_replacing|target|replace|[count]|[plain
--            flag]|pipe to
library.renaming_by_replacing = function (ctx)
	local ptn, repl, nmax, is_strict, argc, die =
		load_replace_args(ctx.pipe, 'renaming_by_replacing')
	if die then return context_iterate(ctx, argc) end
	local tbl = ctx.params
	if is_strict then
		local key = tonumber(ptn) or ptn:match'^%s*(.-)%s*$'
		local val = tbl[key]
		if val ~= nil then
			tbl[key] = nil
			tbl[tonumber(repl) or repl:match'^%s*(.-)%s*$'] = val
		end
	else
		if flg == 2 then
			-- Copied from Module:String's `str._escapePattern()`
			ptn = ptn:gsub('[%(%)%.%%%+%-%*%?%[%^%$%]]', '%%%0')
		end
		local cache = {}
		for key, val in pairs(tbl) do
			steal_if_renamed(val, tbl, key, cache,
				tostring(key):gsub(ptn, repl, nmax))
		end
		for key, val in pairs(cache) do tbl[key] = val end
	end
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|grouping_by_calling|template
--            name|[let]|[...]|[number of additional arguments]|[argument
--            1]|[argument 2]|[...]|[argument N]|pipe to
library.grouping_by_calling = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable! As a modifier,
	-- this function MUST create a copy of it before returning
	local opts = ctx.pipe
	local tmp
	if opts[1] ~= nil then tmp = opts[1]:match'^%s*(.*%S)' end
	if tmp == nil then error(modulename ..
		', ‘grouping_by_calling’: No template name was provided', 0) end
	local model = { title = tmp }
	local tmp, argc = load_child_opts(opts, 2, 0)
	local gargs = {}
	for key, val in pairs(tmp) do
		if type(key) == 'number' and key &lt; 1 then gargs[key - 1] = val
		else gargs[key] = val end
	end
	local groups = make_groups(ctx.params)
	for gid, group in pairs(groups) do
		for key, val in pairs(gargs) do group[key] = val end
		group[0] = gid
		model.args = group
		groups[gid] = ctx.frame:expandTemplate(model)
	end
	ctx.params = groups
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|parsing|string to parse|[trim flag]|[iteration
--            delimiter setter]|[...]|[key-value delimiter setter]|[...]|pipe to
library.parsing = function (ctx)
	local opts = ctx.pipe
	if opts[1] == nil then error(modulename ..
		', ‘parsing’: No string to parse was provided', 0) end
	local isep, iplain, psep, pplain, trimnamed, trimunnamed, argc =
		load_parse_opts(opts, 2)
	parse_parameter_string(ctx.params, opts[1], isep, iplain, psep, pplain,
		trimnamed, trimunnamed)
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|reinterpreting|parameter to reinterpret|[trim
--            flag]|[iteration delimiter setter]|[...]|[key-value delimiter
--            setter]|[...]|pipe to
library.reinterpreting = function (ctx)
	local opts = ctx.pipe
	if opts[1] == nil then error(modulename ..
		', ‘reinterpreting’: No parameter to reinterpret was provided', 0) end
	local isep, iplain, psep, pplain, trimnamed, trimunnamed, argc =
		load_parse_opts(opts, 2)
	local tbl = ctx.params
	local tmp = tonumber(opts[1]) or opts[1]:match'^%s*(.-)%s*$'
	local str = tbl[tmp]
	if str ~= nil then
		tbl[tmp] = nil
		parse_parameter_string(tbl, str, isep, iplain, psep, pplain,
			trimnamed, trimunnamed)
	end
	return context_iterate(ctx, argc)
end


-- Syntax:  #invoke:params|combining_by_calling|template name|new parameter
--            name|pipe to
library.combining_by_calling = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable! As a modifier,
	-- this function MUST create a copy of it before returning
	local tname = ctx.pipe[1]
	if tname ~= nil then tname = tname:match'^%s*(.*%S)'
	else error(modulename ..
		', ‘combining_by_calling’: No template name was provided', 0) end
	local merge_into = ctx.pipe[2]
	if merge_into == nil then error(modulename ..
		', ‘combining_by_calling’: No parameter name was provided', 0) end
	merge_into = tonumber(merge_into) or merge_into:match'^%s*(.-)%s*$'
	ctx.params = {
		[merge_into] = ctx.frame:expandTemplate{
			title = tname,
			args = ctx.params
		}
	}
	return context_iterate(ctx, 3)
end


-- Syntax:  #invoke:params|snapshotting|pipe to
library.snapshotting = function (ctx)
	push_cloned_stack(ctx, ctx.params)
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|remembering|pipe to
library.remembering = function (ctx)
	push_cloned_stack(ctx, ctx.oparams)
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|entering_substack|[new]|pipe to
library.entering_substack = function (ctx)
	local tbl = ctx.params
	local ncurrparent = ctx.n_parents + 1
	if ctx.parents == nil then ctx.parents = { tbl }
	else ctx.parents[ncurrparent] = tbl end
	ctx.n_parents = ncurrparent
	if ctx.pipe[1] ~= nil and ctx.pipe[1]:match'^%s*new%s*$' then
		ctx.params = {}
		return context_iterate(ctx, 2)
	end
	local currsnap = ctx.n_children
	if currsnap &gt; 0 then
		ctx.params = ctx.children[currsnap]
		ctx.children[currsnap] = nil
		ctx.n_children = currsnap - 1
	else
		local newparams = {}
		for key, val in pairs(tbl) do newparams[key] = val end
		ctx.params = newparams
	end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|pulling|parameter name|pipe to
library.pulling = function (ctx)
	local opts = ctx.pipe
	if opts[1] == nil then error(modulename ..
		', ‘pulling’: No parameter to pull was provided', 0) end
	local parent
	local tmp = ctx.n_parents
	if tmp &lt; 1 then parent = ctx.oparams else parent = ctx.parents[tmp] end
	tmp = tonumber(opts[1]) or opts[1]:match'^%s*(.-)%s*$'
	if parent[tmp] ~= nil then ctx.params[tmp] = parent[tmp] end
	return context_iterate(ctx, 2)
end


-- Syntax:  #invoke:params|detaching_substack|pipe to
library.detaching_substack = function (ctx)
	local ncurrparent = ctx.n_parents
	if ncurrparent &lt; 1 then error(modulename ..
		', ‘detaching_substack’: No substack has been created', 0) end
	local parent = ctx.parents[ncurrparent]
	for key in pairs(ctx.params) do parent[key] = nil end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|leaving_substack|pipe to
library.leaving_substack = function (ctx)
	local ncurrparent = ctx.n_parents
	if ncurrparent &lt; 1 then error(modulename ..
		', ‘leaving_substack’: No substack has been created', 0) end
	local currsnap = ctx.n_children + 1
	if ctx.children == nil then ctx.children = { ctx.params }
	else ctx.children[currsnap] = ctx.params end
	ctx.params = ctx.parents[ncurrparent]
	ctx.parents[ncurrparent] = nil
	ctx.n_parents = ncurrparent - 1
	ctx.n_children = currsnap
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|merging_substack|pipe to
library.merging_substack = function (ctx)
	local ncurrparent = ctx.n_parents
	if ncurrparent &lt; 1 then error(modulename ..
		', ‘merging_substack’: No substack has been created', 0) end
	local parent = ctx.parents[ncurrparent]
	local child = ctx.params
	ctx.params = parent
	ctx.parents[ncurrparent] = nil
	ctx.n_parents = ncurrparent - 1
	for key, val in pairs(child) do parent[key] = val end
	return context_iterate(ctx, 1)
end


-- Syntax:  #invoke:params|flushing|pipe to
library.flushing = function (ctx)
	if ctx.n_children &lt; 1 then error(modulename ..
		', ‘flushing’: There are no substacks to flush', 0) end
	local parent = ctx.params
	local currsnap = ctx.n_children
	for key, val in pairs(ctx.children[currsnap]) do parent[key] = val end
	ctx.children[currsnap] = nil
	ctx.n_children = currsnap - 1
	return context_iterate(ctx, 1)
end


	--[[ Functions ]]--
	-----------------------------


-- Syntax:  #invoke:params|count
library.count = function (ctx)
	-- NOTE: `ctx.pipe` and `ctx.params` might be the original metatables!
	local retval = 0
	for _ in ctx.iterfunc(ctx.params) do retval = retval + 1 end
	if ctx.subset == -1 then retval = retval - #ctx.params end
	ctx.text = retval
	return false
end


-- Syntax:  #invoke:args|concat_and_call|template name|[prepend 1]|[prepend 2]
--            |[...]|[item n]|[named item 1=value 1]|[...]|[named item n=value
--            n]|[...]
library.concat_and_call = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable!
	local opts = ctx.pipe
	local tname
	if opts[1] ~= nil then tname = opts[1]:match'^%s*(.*%S)' end
	if tname == nil then error(modulename ..
		', ‘concat_and_call’: No template name was provided', 0) end
	remove_numeric_keys(opts, 1, 1)
	ctx.text = ctx.frame:expandTemplate{
		title = tname,
		args = concat_params(ctx)
	}
	return false
end


-- Syntax:  #invoke:args|concat_and_invoke|module name|function name|[prepend
--            1]|[prepend 2]|[...]|[item n]|[named item 1=value 1]|[...]|[named
--            item n=value n]|[...]
library.concat_and_invoke = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable!
	local opts = ctx.pipe
	local mname
	local fname
	if opts[1] ~= nil then mname = opts[1]:match'^%s*(.*%S)' end
	if mname == nil then error(modulename ..
		', ‘concat_and_invoke’: No module name was provided', 0) end
	if opts[2] ~= nil then fname = opts[2]:match'^%s*(.*%S)' end
	if fname == nil then error(modulename ..
		', ‘concat_and_invoke’: No function name was provided', 0) end
	remove_numeric_keys(opts, 1, 2)
	local mfunc = require('Module:' .. mname)[fname]
	if mfunc == nil then error(modulename ..
		', ‘concat_and_invoke’: The function ‘' .. fname ..
		'’ does not exist', 0) end
	ctx.text = mfunc(ctx.frame:newChild{
		title = 'Module:' .. fname,
		args = concat_params(ctx)
	})
	return false
end


-- Syntax:  #invoke:args|concat_and_magic|parser function|[prepend 1]|[prepend
--            2]|[...]|[item n]|[named item 1=value 1]|[...]|[named item n=
--            value n]|[...]
library.concat_and_magic = function (ctx)
	-- NOTE: `ctx.params` might be the original metatable!
	local opts = ctx.pipe
	local magic
	if opts[1] ~= nil then magic = opts[1]:match'^%s*(.*%S)' end
	if magic == nil then error(modulename ..
		', ‘concat_and_magic’: No parser function was provided', 0) end
	remove_numeric_keys(opts, 1, 1)
	ctx.text = ctx.frame:callParserFunction(magic, concat_params(ctx))
	return false
end


-- Syntax:  #invoke:params|value_of|parameter name
library.value_of = function (ctx)
	-- NOTE: `ctx.pipe` and `ctx.params` might be the original metatables!
	local opts = ctx.pipe
	local kstr
	if opts[1] ~= nil then kstr = opts[1]:match'^%s*(.*%S)' end
	if kstr == nil then error(modulename ..
		', ‘value_of’: No parameter name was provided', 0) end
	local knum = tonumber(kstr)
	local len = #ctx.params  -- No worries: unused when in first position
	local val = ctx.params[knum or kstr]
	if val ~= nil and (
		ctx.subset ~= -1 or knum == nil or knum &gt; len or knum &lt; 1
	) and (
		ctx.subset ~= 1 or (knum ~= nil and knum &lt;= len and knum &gt; 0)
	) then
		ctx.text = (ctx.header or '') .. val .. (ctx.footer or '')
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|list
library.list = function (ctx)
	-- NOTE: `ctx.pipe` might be the original metatable!
	local kvs = ctx.pairsep or ''
	local pps = ctx.itersep or ''
	local ret = {}
	local nss = 0
	flush_params(
		ctx,
		function (key, val)
			ret[nss + 1] = pps
			ret[nss + 2] = key
			ret[nss + 3] = kvs
			ret[nss + 4] = val
			nss = nss + 4
		end
	)
	if nss &gt; 0 then
		if nss &gt; 4 and ctx.lastsep ~= nil then
			ret[nss - 3] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|list_values
library.list_values = function (ctx)
	-- NOTE: `ctx.pipe` might be the original metatable!
	-- NOTE: `library.coins()` and `library.unique_coins()` rely on us
	local pps = ctx.itersep or ''
	local ret = {}
	local nss = 0
	flush_params(
		ctx,
		function (key, val)
			ret[nss + 1] = pps
			ret[nss + 2] = val
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|coins|[first coin = value 1]|[second coin = value
--            2]|[...]|[last coin = value N]
library.coins = function (ctx)
	-- NOTE: `ctx.pipe` might be the original metatable!
	local opts = ctx.pipe
	local tbl = ctx.params
	for key, val in pairs(tbl) do tbl[key] = opts[tonumber(val) or val] end
	return library.list_values(ctx)
end


-- Syntax:  #invoke:params|unique_coins|[first coin = value 1]|[second coin =
--            value 2]|[...]|[last coin = value N]
library.unique_coins = function (ctx)
	local opts = ctx.pipe
	local tbl = ctx.params
	local tmp
	for key, val in pairs(tbl) do
		tmp = tonumber(val) or val
		tbl[key] = opts[tmp]
		opts[tmp] = nil
	end
	return library.list_values(ctx)
end


-- Syntax:  #invoke:params|for_each|wikitext
library.for_each = function (ctx)
	-- NOTE: `ctx.pipe` might be the original metatable!
	local txt = ctx.pipe[1] or ''
	local pps = ctx.itersep or ''
	local ret = {}
	local nss = 0
	flush_params(
		ctx,
		function (key, val)
			ret[nss + 1] = pps
			ret[nss + 2] = txt:gsub('%$#', key):gsub('%$@', val)
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|call_for_each|template name|[append 1]|[append 2]
--            |[...]|[append n]|[named param 1=value 1]|[...]|[named param
--            n=value n]|[...]
library.call_for_each = function (ctx)
	local opts = ctx.pipe
	local tname
	if opts[1] ~= nil then tname = opts[1]:match'^%s*(.*%S)' end
	if tname == nil then error(modulename ..
		', ‘call_for_each’: No template name was provided', 0) end
	local model = { title = tname, args = opts }
	local ccs = ctx.itersep or ''
	local ret = {}
	local nss = 0
	table.insert(opts, 1, true)
	flush_params(
		ctx,
		function (key, val)
			opts[1] = key
			opts[2] = val
			ret[nss + 1] = ccs
			ret[nss + 2] = ctx.frame:expandTemplate(model)
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|invoke_for_each|module name|module function|[append
--            1]|[append 2]|[...]|[append n]|[named param 1=value 1]|[...]
--            |[named param n=value n]|[...]
library.invoke_for_each = function (ctx)
	local opts = ctx.pipe
	local mname
	local fname
	if opts[1] ~= nil then mname = opts[1]:match'^%s*(.*%S)' end
	if mname == nil then error(modulename ..
		', ‘invoke_for_each’: No module name was provided', 0) end
	if opts[2] ~= nil then fname = opts[2]:match'^%s*(.*%S)' end
	if fname == nil then error(modulename ..
		', ‘invoke_for_each’: No function name was provided', 0) end
	local model = { title = 'Module:' .. mname, args = opts }
	local mfunc = require(model.title)[fname]
	local ccs = ctx.itersep or ''
	local ret = {}
	local nss = 0
	flush_params(
		ctx,
		function (key, val)
			opts[1] = key
			opts[2] = val
			ret[nss + 1] = ccs
			ret[nss + 2] = mfunc(ctx.frame:newChild(model))
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|magic_for_each|parser function|[append 1]|[append 2]
--            |[...]|[append n]|[named param 1=value 1]|[...]|[named param
--            n=value n]|[...]
library.magic_for_each = function (ctx)
	local opts = ctx.pipe
	local magic
	if opts[1] ~= nil then magic = opts[1]:match'^%s*(.*%S)' end
	if magic == nil then error(modulename ..
		', ‘magic_for_each’: No parser function was provided', 0) end
	local ccs = ctx.itersep or ''
	local ret = {}
	local nss = 0
	table.insert(opts, 1, true)
	flush_params(
		ctx,
		function (key, val)
			opts[1] = key
			opts[2] = val
			ret[nss + 1] = ccs
			ret[nss + 2] = ctx.frame:callParserFunction(magic,
				opts)
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|call_for_each_value|template name|[append 1]|[append
--            2]|[...]|[append n]|[named param 1=value 1]|[...]|[named param
--            n=value n]|[...]
library.call_for_each_value = function (ctx)
	local opts = ctx.pipe
	local tname
	if opts[1] ~= nil then tname = opts[1]:match'^%s*(.*%S)' end
	if tname == nil then error(modulename ..
		', ‘call_for_each_value’: No template name was provided', 0) end
	local model = { title = tname, args = opts }
	local ccs = ctx.itersep or ''
	local ret = {}
	local nss = 0
	flush_params(
		ctx,
		function (key, val)
			opts[1] = val
			ret[nss + 1] = ccs
			ret[nss + 2] = ctx.frame:expandTemplate(model)
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|invoke_for_each_value|module name|[append 1]|[append
--            2]|[...]|[append n]|[named param 1=value 1]|[...]|[named param
--            n=value n]|[...]
library.invoke_for_each_value = function (ctx)
	local opts = ctx.pipe
	local mname
	local fname
	if opts[1] ~= nil then mname = opts[1]:match'^%s*(.*%S)' end
	if mname == nil then error(modulename ..
		', ‘invoke_for_each_value’: No module name was provided', 0) end
	if opts[2] ~= nil then fname = opts[2]:match'^%s*(.*%S)' end
	if fname == nil then error(modulename ..
		', ‘invoke_for_each_value’: No function name was provided', 0) end
	local model = { title = 'Module:' .. mname, args = opts }
	local mfunc = require(model.title)[fname]
	local ccs = ctx.itersep or ''
	local ret = {}
	local nss = 0
	remove_numeric_keys(opts, 1, 1)
	flush_params(
		ctx,
		function (key, val)
			opts[1] = val
			ret[nss + 1] = ccs
			ret[nss + 2] = mfunc(ctx.frame:newChild(model))
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|magic_for_each_value|parser function|[append 1]
--            |[append 2]|[...]|[append n]|[named param 1=value 1]|[...]|[named
--            param n=value n]|[...]
library.magic_for_each_value = function (ctx)
	local opts = ctx.pipe
	local magic
	if opts[1] ~= nil then magic = opts[1]:match'^%s*(.*%S)' end
	if magic == nil then error(modulename ..
		', ‘magic_for_each_value’: No parser function was provided', 0) end
	local ccs = ctx.itersep or ''
	local ret = {}
	local nss = 0
	flush_params(
		ctx,
		function (key, val)
			opts[1] = val
			ret[nss + 1] = ccs
			ret[nss + 2] = ctx.frame:callParserFunction(magic,
				opts)
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


-- Syntax:  #invoke:params|call_for_each_group|template name|[append 1]|[append
--            2]|[...]|[append n]|[named param 1=value 1]|[...]|[named param
--            n=value n]|[...]
library.call_for_each_group = function (ctx)
	-- NOTE: `ctx.pipe` and `ctx.params` might be the original metatables!
	local opts = ctx.pipe
	local tmp
	if opts[1] ~= nil then tmp = opts[1]:match'^%s*(.*%S)' end
	if tmp == nil then error(modulename ..
		', ‘call_for_each_group’: No template name was provided', 0) end
	local model = { title = tmp }
	local ccs = ctx.itersep or ''
	local nss = 0
	local ret = {}
	opts = {}
	for key, val in pairs(ctx.pipe) do
		if type(key) == 'number' then opts[key - 1] = val
		else opts[key] = val end
	end
	ctx.pipe = opts
	ctx.params = make_groups(ctx.params)
	flush_params(
		ctx,
		function (gid, group)
			for key, val in pairs(opts) do group[key] = val end
			group[0] = gid
			model.args = group
			ret[nss + 1] = ccs
			ret[nss + 2] = ctx.frame:expandTemplate(model)
			nss = nss + 2
		end
	)
	if nss &gt; 0 then
		if nss &gt; 2 and ctx.lastsep ~= nil then
			ret[nss - 1] = ctx.lastsep
		end
		ret[1] = ctx.header or ''
		if ctx.footer ~= nil then ret[nss + 1] = ctx.footer end
		ctx.text = table.concat(ret)
		return false
	end
	ctx.text = ctx.ifngiven or ''
	return false
end


	---                                        ---
	---     PUBLIC ENVIRONMENT                 ---
	---    ________________________________    ---
	---                                        ---


	--[[ First-position-only modifiers ]]--
	---------------------------------------


-- Syntax:  #invoke:params|new|pipe to
static_iface.new = function (frame)
	local ctx = context_new(frame:getParent())
	ctx.pipe = copy_or_ref_table(frame.args, false)
	ctx.params = {}
	main_loop(ctx, context_iterate(ctx, 1))
	return ctx.text
end


	--[[ First-position-only functions ]]--
	---------------------------------------


-- Syntax:  #invoke:params|self
static_iface.self = function (frame)
	return frame:getParent():getTitle()
end


	--[[ Public metatable of functions ]]--
	---------------------------------------


return setmetatable({}, {
	__index = function (_, query)
		local fname = query:match'^%s*(.*%S)'
		if fname == nil then error(modulename ..
			': You must specify a function to call', 0) end
		local func = static_iface[fname]
		if func ~= nil then return func end
		func = library[fname]
		if func == nil then error(modulename ..
			': The function ‘' .. fname .. '’ does not exist', 0) end
		return function (frame)
			local ctx = context_new(frame:getParent())
			ctx.pipe = copy_or_ref_table(frame.args,
				refpipe[fname])
			ctx.params = copy_or_ref_table(ctx.oparams,
				refparams[fname])
			main_loop(ctx, func)
			return ctx.text
		end
	end
})</text>
      <sha1>ff1d3o9xogv4rqvgmnj01djzccb5m6s</sha1>
    </revision>
  </page>
  <page>
    <title>File:Signal.4A.Sequential.20250612.pdf</title>
    <ns>6</ns>
    <id>322041</id>
    <revision>
      <id>2718384</id>
      <timestamp>2025-06-12T12:23:44Z</timestamp>
      <contributor>
        <username>Young1lim</username>
        <id>21186</id>
      </contributor>
      <comment>{{Information
|Description=Signal.4AL Signals and Variables (20250612 - 20250611)
|Source={{own|Young1lim}}
|Date=2025-06-12
|Author=Young W. Lim
|Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}
}}</comment>
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      <text bytes="277" sha1="rfc2uwdjn70sxok9oo8jb5ks4rcfjpj" xml:space="preserve">== Summary ==
{{Information
|Description=Signal.4AL Signals and Variables (20250612 - 20250611)
|Source={{own|Young1lim}}
|Date=2025-06-12
|Author=Young W. Lim
|Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}
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== Licensing ==
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      <timestamp>2025-06-12T17:20:07Z</timestamp>
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        <id>21186</id>
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      <comment>/* Summary */</comment>
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      <text bytes="276" sha1="bram57yrohx66r5j7snarwthj8k04g5" xml:space="preserve">== Summary ==
{{Information
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|Source={{own|Young1lim}}
|Date=2025-06-12
|Author=Young W. Lim
|Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}
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== Licensing ==
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    <title>File:Signal.1A.SigVar.20250612.pdf</title>
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      <comment>{{Information
|Description=Signal.1A Signals and Variables (20250612 - 20250611)
|Source={{own|Young1lim}}
|Date=2025-06-12
|Author=Young W. Lim
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      <text bytes="276" sha1="jysur3yl6x23kzy6t39e4dsy2t6gfar" xml:space="preserve">== Summary ==
{{Information
|Description=Signal.1A Signals and Variables (20250612 - 20250611)
|Source={{own|Young1lim}}
|Date=2025-06-12
|Author=Young W. Lim
|Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}}
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== Licensing ==
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  <page>
    <title>When Questions Become Freedom: A Story of Unbelief</title>
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      <comment>New resource with &quot; == When Questions Become Freedom: A Story of Unbelief == ''A personal reflection by Nafis Sadique Shatil''  === Introduction === Since childhood, I have been filled with relentless curiosity. I wasn’t seeking rebellion — I simply wanted to understand the world around me. But in the environment where I grew up, asking certain questions was often discouraged, especially those concerning religion.  This essay reflects on my personal journey toward freethought — a pat...&quot;</comment>
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== When Questions Become Freedom: A Story of Unbelief ==
''A personal reflection by Nafis Sadique Shatil''

=== Introduction ===
Since childhood, I have been filled with relentless curiosity. I wasn’t seeking rebellion — I simply wanted to understand the world around me. But in the environment where I grew up, asking certain questions was often discouraged, especially those concerning religion.

This essay reflects on my personal journey toward freethought — a path shaped by doubt, books, and the bravery of thinkers before me. My goal is not to convert or confront, but to offer insight for anyone navigating similar questions.

=== The Questions That Would Not Rest ===
My earliest confusions began with the concept of the sky. Science taught me that what we call “sky” is an optical illusion caused by the scattering of light in Earth’s atmosphere — not a physical structure. Yet religious texts described Allah residing above seven heavens. If the sky itself is not a tangible entity, what then are these seven heavens?

Another early question involved the story that humans were created from clay. The complexity of the human body — its diverse organs and systems — seemed incompatible with the idea of a single, simple material origin.

Answers were rarely satisfying. More often, they were deferred or discouraged.

=== Confronting Fear and Logic ===
In fifth grade, I received a book titled ''Punishment in the Grave After Death'', filled with frightening descriptions of post-mortem torments. One passage claimed that the grave's walls would crush the body so completely that every bone would break. Yet archaeologists and medical students routinely recover intact skeletons. How could both be true?

The book also described two angels who would interrogate the dead. I wondered: if an all-knowing deity already knows a person's moral state, why test them with questions after death? Would not such a test be redundant?

As I grew older, more inconsistencies emerged:

* The implausibility of fitting every species onto Noah’s Ark.
* The challenges posed by the idea of jinns as literal beings.
* The tension between predestination (''Taqdir'') and moral accountability.
* The question of why multiple, conflicting religions exist if there is one creator.

=== The Books That Transformed My Thinking ===
Rather than silencing these doubts, I pursued them — through science, philosophy, and literature.

'''Richard Dawkins, ''The God Delusion'''''  This book marked a turning point. Dawkins exposed the inconsistencies and unfounded assumptions within many religious systems, replacing blind faith with a reverence for science and reason.

'''Bertrand Russell and the Teapot'''  Russell’s analogy — the famous teapot orbiting the sun — clarified the principle that the burden of proof lies on the claimant. This profoundly shaped my approach to evaluating religious claims.

'''Humayun Azad, ''Amar Obisshash'''''  Azad’s fearless questioning resonated deeply. His courage to challenge deeply ingrained beliefs, especially within my own Bangladeshi culture, was both inspiring and validating.

'''Avijit Roy’s Writings'''  Books like ''Bishwasher Virus'' and ''Obishwasher Dorshon'' revealed not only the flaws of religious dogma but also the dangers of uncritical belief. Roy’s tragic murder underscored the high stakes of defending reason and free inquiry.

'''Aroj Ali Matubbar, ''Shoytaner Jobanbondi'''''  Matubbar’s accessible, common-sense critiques showed me that one does not need formal credentials to ask meaningful questions about religion and society.

'''Salman Rushdie, ''The Satanic Verses'''''  Learning about the fatwa against Rushdie taught me a critical lesson: a belief system that fears a novel is fundamentally fragile. His resilience inspired me to value free expression even more.

=== Conclusion: Toward Freethought ===
Today, I no longer identify as a believer, but as a freethinker. My skepticism arose not from arrogance but from honest inquiry. It was shaped by books, thinkers, and a refusal to accept unsatisfying answers.

To anyone questioning their beliefs: know that you are not alone. Asking questions is an act of courage, and seeking truth is a lifelong journey.

If you have your own story, share it — even anonymously if needed. Let us continue to question, learn, and speak.

=== Suggested Discussion Questions for Learners ===

# How do cultural and religious environments influence our willingness to question?
# What is the role of books and literature in shaping personal beliefs?
# How can we foster environments where questioning is encouraged rather than silenced?
# What ethical considerations arise when publicly challenging religious ideas?

=== Licensing ===
''This essay is licensed under [[ccorg:licenses/by-sa/4.0/|Creative Commons Attribution-ShareAlike 4.0 International (CC BY-SA 4.0)]].''</text>
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    <title>Introduction to Probate Bonds</title>
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      <comment>Initial course: Introduction to Probate Bonds based on content by Philip Pavarini, CC BY-SA 4.0.</comment>
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      <text bytes="2717" sha1="5usw5et8yo4xs2tebek6dhimnsv1f3z" xml:space="preserve">&lt;nowiki&gt;== Introduction to Probate Bonds for Fiduciaries and Legal Professionals ==&lt;/nowiki&gt;

&lt;nowiki&gt;=== Overview ===&lt;/nowiki&gt;

This course offers a practical introduction to probate bonds, their legal context, and real-world application. It is intended for fiduciaries, legal professionals, students, and court staff who need to understand what probate bonds are, why they're required, and how to get them.

&lt;nowiki&gt;=== Learning Objectives ===&lt;/nowiki&gt;

* Define what a probate bond is and why it exists
* Identify the roles and individuals who may need bonding
* Understand the bond issuance and approval process
* Recognize legal risks and bond claim consequences
* Locate resources to apply for or learn more about probate bonds

&lt;nowiki&gt;=== Prerequisites ===&lt;/nowiki&gt;

No legal training is required. This course is suitable for beginners with a general interest in estates, probate, or fiduciary duties.

&lt;nowiki&gt;== Module 1: What is a Probate Bond? ==&lt;/nowiki&gt;

* Definition and purpose
* When and why courts require them
* Examples: estate executor, guardian of minor, conservator

&lt;nowiki&gt;== Module 2: Fiduciaries Who May Need Bonds ==&lt;/nowiki&gt;

* Personal representatives (executors, administrators)
* Guardians of minors or incapacitated adults
* Trustees
* Special administrators and receivers

&lt;nowiki&gt;== Module 3: Bond Application and Issuance Process ==&lt;/nowiki&gt;

* Court appointment and bond requirement
* Underwriting: personal credit, financials, background
* Premiums and how costs are paid
* Issuance and filing

&lt;nowiki&gt;== Module 4: Duties and Risks of Fiduciaries ==&lt;/nowiki&gt;

* The fiduciary duty and legal obligations
* Claims: how they arise, who files, and the investigation
* Defending against bond claims
* Liability and reimbursement

&lt;nowiki&gt;== Module 5: How to Obtain a Bond ==&lt;/nowiki&gt;

* Choosing an agent or agency
* Required information and documents
* Online vs. in-person bonding
* Resources for low-cost or free options

&lt;nowiki&gt;== Review Questions ==&lt;/nowiki&gt;

# What is the main function of a probate bond?
# Name three types of fiduciaries who might need a bond.
# What factors do surety companies review during underwriting?
# What are common causes of bond claims?
# How are bond premiums typically paid?

&lt;nowiki&gt;== Additional Resources ==&lt;/nowiki&gt;

* ProbateCourtBond.com – apply online, download sample forms, or request support
* Book: ''Probate Bonds Made Simple'' by Philip E. Pavarini Jr.
* Sample bond forms and court documents (PDF)
* Glossary of fiduciary and bonding terms

&lt;nowiki&gt;== Licensing and Attribution ==&lt;/nowiki&gt;

This course content is adapted from ''Probate Bonds Made Simple'' by Philip E. Pavarini Jr. and is released under a CC BY-SA 4.0 license.</text>
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      <comment>Added full course content with attribution and CC license</comment>
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      <text bytes="2559" sha1="8h48zzh8okb6sr9x8agt7lzfoim6lne" xml:space="preserve">= Introduction to Probate Bonds for Fiduciaries and Legal Professionals =

== Overview ==
This course offers a practical introduction to probate bonds, their legal context, and real-world application. It is intended for fiduciaries, legal professionals, students, and court staff who need to understand what probate bonds are, why they're required, and how to get them.

== Learning Objectives ==
* Define what a probate bond is and why it exists
* Identify the roles and individuals who may need bonding
* Understand the bond issuance and approval process
* Recognize legal risks and bond claim consequences
* Locate resources to apply for or learn more about probate bonds

== Prerequisites ==
No legal training is required. This course is suitable for beginners with a general interest in estates, probate, or fiduciary duties.

= Module 1: What is a Probate Bond? =
* Definition and purpose
* When and why courts require them
* Examples: estate executor, guardian of minor, conservator

= Module 2: Fiduciaries Who May Need Bonds =
* Personal representatives (executors, administrators)
* Guardians of minors or incapacitated adults
* Trustees
* Special administrators and receivers

= Module 3: Bond Application and Issuance Process =
* Court appointment and bond requirement
* Underwriting: personal credit, financials, background
* Premiums and how costs are paid
* Issuance and filing

= Module 4: Duties and Risks of Fiduciaries =
* The fiduciary duty and legal obligations
* Claims: how they arise, who files, and the investigation
* Defending against bond claims
* Liability and reimbursement

= Module 5: How to Obtain a Bond =
* Choosing an agent or agency
* Required information and documents
* Online vs. in-person bonding
* Resources for low-cost or free options

= Review Questions =
# What is the main function of a probate bond?
# Name three types of fiduciaries who might need a bond.
# What factors do surety companies review during underwriting?
# What are common causes of bond claims?
# How are bond premiums typically paid?

= Additional Resources =
* [https://www.probatecourtbond.com ProbateCourtBond.com] – Apply online, download sample forms, or request support
* ''Probate Bonds Made Simple'' by Philip E. Pavarini Jr.
* Sample bond forms and court documents (PDF)
* Glossary of fiduciary and bonding terms

= Licensing and Attribution =
This course content is adapted from ''Probate Bonds Made Simple'' by Philip E. Pavarini Jr. and is released under the [https://creativecommons.org/licenses/by-sa/4.0/ CC BY-SA 4.0] license.</text>
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