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Crinoline

Crinoline refers to a stiff fabric woven from horsehair and cotton or linen threads, initially employed in the 1840s to create underskirts that expanded and supported the voluminous skirts of women's fashion.^[1]^[2] This material, deriving its name from the French crin for horsehair, enabled a bell-shaped silhouette without the bulk of multiple layered petticoats, marking a shift toward lighter yet structurally rigid undergarments.^[3] By the mid-1850s, the term evolved to denote the cage crinoline, a innovative framework of steel hoops connected by fabric tapes and introduced via patent in Paris around 1856, which dramatically increased skirt circumferences to extremes exceeding 18 feet while reducing weight compared to fabric alternatives.^[1]^[4] Worn across social classes and paired with corsets to accentuate narrow waists, the cage crinoline reached peak popularity in the early 1860s, influencing global dress styles and production techniques amid the Industrial Revolution's advances in metalworking.^[1] However, its exaggerated proportions sparked controversies, including mobility restrictions, satirical critiques in periodicals like Punch, and heightened risks of accidents such as skirts igniting near open flames due to their flammable fabrics and proximity to heat sources.^[5] By the late 1860s, fashion transitioned toward bustles, diminishing the crinoline's dominance, though the concept persisted in modified forms like crinolines and later in 20th-century revivals for structured skirts in dance attire and haute couture.^[2]^[6]

Etymology and Definition

Origin of the Term

The term "crinoline" originates from the French words crin, denoting horsehair, and lin, referring to linen, describing a stiff fabric woven from these materials for garment stiffening.^[7]^[8] This etymological root traces back to Latin crinis (hair) and linum (flax or linen thread), highlighting the fabric's composition of animal hair interlaced with plant fibers to achieve rigidity.^[7] First documented in the 1830s, crinoline referred specifically to this horsehair-linen blend used in petticoats and as dress linings to provide structured volume without the bulk of multiple layered skirts.^[8] By the early 1840s, the term gained prominence in French textile production for underskirt stiffening, distinguishing it from prior structural devices like the farthingale or pannier, which emphasized framed hoops rather than inherent material stiffness.^[9] This material-focused designation laid the groundwork for its later association with expansive hoop-supported skirts in the 1850s, though initially confined to the woven fabric itself.^[10]

Materials and Construction

The original crinoline consisted of a stiff fabric woven with horsehair weft threads into a warp of cotton or linen, which provided the necessary rigidity for supporting layered petticoats.^[11] These horsehair petticoats achieved volume with fewer layers than equivalents stiffened solely by starching cotton, thereby reducing overall weight while maintaining structural support.^[6] In 1856, the cage crinoline marked a shift to a skeletal frame design, employing concentric hoops formed from spring steel wire, typically numbering around 10, interconnected by cotton-twill tapes or fabric bands for flexibility and adjustability.^[6] Some constructions incorporated metal hinges at the hips to allow for controlled expansion or contraction.^[6] This hoop-based assembly drastically lowered the garment's weight to under two pounds, compared to the heavier fabric petticoats that could exceed several pounds in aggregate.^[12] Precursor structures to the steel cage utilized materials such as whalebone or rattan for hoop elements, inserted into fabric channels or connected similarly with ties.^[6] Later adaptations for subdued volume employed cotton netting over or in place of rigid hoops, offering a softer, less pronounced expansion.^[11]

Historical Development

Pre-19th Century Precursors

The Spanish verdugado, emerging in Spain during the late 15th century, represented an initial structural undergarment employing hoops stiffened with subtropical giant cane or reeds to widen skirts into a conical shape, thereby projecting the lower body outward for a flattened torso appearance.^[13] This design, derived from the term verdugo referring to pruned twigs used for rigidity, prioritized material efficiency amid limited access to durable stiffeners, as natural fibers like esparto grass offered lightweight support without excessive weight.^[14] By the early 16th century, the verdugado—anglicized as farthingale upon transmission to England around 1530—influenced court fashions under influences like Catherine of Aragon, utilizing willow osiers, bent reeds, or cords sewn into petticoats to achieve bell-shaped expansions up to 3 feet in diameter at the hem.^[15] Whalebone reinforcements appeared later in the century, as evidenced by a preserved 1590s example incorporating fourteen whalebone hoops within fustian fabric, though scarcity of baleen from northern whales constrained broader adoption beyond elite circles.^[16] These early frames causally stemmed from practical imperatives for visual elongation, which accentuated hierarchical status through exaggerated proportions while modestly concealing leg movement beneath voluminous skirts, aligning with Renaissance emphases on geometric harmony over fluid drapery.^[13] Empirical constraints, including the labor-intensive harvesting of reeds and the finite supply of whalebone—primarily sourced from Baltic whaling operations yielding only sporadic imports—limited diffusion to urban courts, where sumptuary laws in places like Elizabethan England regulated their use to nobility.^[15] Transitioning into the 17th century, farthingales evolved toward wheel variants with horizontal rings for fuller conical support, but retained rigid materials like whalebone or rope, foreshadowing compartmentalized stiffening without achieving the lateral dominance of subsequent designs.^[16] In the 18th century, panniers supplanted conical forms, featuring bilateral cages of whalebone or cane hoops that expanded skirts laterally to widths of up to 5 feet by the 1750s–1760s, creating an oblate profile with minimal front-back projection to emphasize rococo opulence and spatial dominance in salon settings.^[17] Constructed as detachable side hoops laced to stays, these structures—often layered in two tiers for adjustable girth—relied on flexible yet resilient baleen to withstand daily wear, though their escalating scale, driven by competitive display among aristocracy, induced practical failures like structural collapse under fabric weight by the 1780s amid neoclassical shifts toward slimmer silhouettes.^[18] Material demands amplified scarcity issues, as whalebone prices fluctuated with overhunting, compelling alternatives like cane in provincial adaptations, while the devices' immobility underscored causal trade-offs between aesthetic projection for modesty and inferred status versus functional mobility.^[17]

Mid-19th Century Introduction

In the early 1840s, British and French fashions increasingly favored wide, bell-shaped skirts influenced by Romantic and Gothic Revival aesthetics, which required substantial undergarment support to achieve the desired volume without excessive fabric weight.^[19]^[20] To meet this demand, a stiff fabric woven from horsehair and linen or cotton—known as crinoline—was introduced for petticoats, providing rigidity while reducing the need for multiple layers of starched cotton alternatives.^[2] This innovation addressed the limitations of prior supports, where women typically wore five to ten starched petticoats to create similar fullness, resulting in cumbersome ensembles that restricted movement and added significant lower-body weight.^[21]^[22] The horsehair crinoline petticoat offered a more efficient solution by concentrating stiffness in a single lightweight layer, enabling the bell shape with less bulk and facilitating easier leg motion during daily activities, as noted in period fashion descriptions emphasizing improved wearability over layered starch.^[23] By the mid-1850s, further refinement came with the steel cage crinoline, patented in 1856 by W.S. Thomson across the United States, France, and Britain, which used flexible steel hoops encased in fabric tapes to distribute support evenly and minimize overall garment mass.^[8] Thomson's design spurred rapid industrial production in European factories, including his own operations, producing thousands of units weekly and lowering costs to make cage crinolines accessible beyond elite classes to middle- and working-class women by the late 1850s.^[24] This scalability stemmed from advances in steel wire manufacturing, allowing precise, lightweight hoops that preserved skirt projection while enhancing comfort through reduced fabric layers, corroborated by manufacturers' claims and user reports of alleviated physical strain compared to traditional petticoats.^[25]^[26]

Peak Usage and Variations (1850s–1870s)

The cage crinoline achieved its greatest prominence from 1856 to the mid-1860s across Western Europe and North America, enabling skirts to expand dramatically in volume while replacing heavier layered petticoats. At their peak, these structures supported skirt hems measuring 12 to 18 feet in circumference, creating a pronounced bell shape that dominated fashionable silhouettes.^[23]^[27]^[22] Design refinements addressed practical limitations, transitioning from early round hoops to elliptical cages by the early 1860s, which compressed the front and sides to enhance walking ease and reduce overall bulk. This adaptation maintained the expansive rear profile essential for the era's aesthetic while mitigating hazards like tipping or entanglement in urban environments.^[28]^[29] Specialized variations emerged to accommodate diverse activities, including divided crinolines that split at the legs for horseback riding or physical labor, preserving modesty and support without restricting movement. Toward the late 1860s and into the 1870s, crinolette hybrids appeared, concentrating steel hoops at the rear to project skirts backward and initiate the shift away from full circumferential expansion.^[6] Mass production of steel-boned crinolines democratized access, with adoption extending beyond elites to middle- and working-class women who purchased affordable versions to emulate upper-class styles, evidenced by widespread use in urban and rural settings rather than solely as an imposed norm.^[30]^[2]

Late 19th Century Decline and Revivals

By the late 1860s, the expansive dome shape of the full cage crinoline declined as skirt volume migrated to the rear, prompting the emergence of the crinolette circa 1865–1868. This partial hoop structure, with steel bands focused on the hips and backside, supported narrower frontal skirts for everyday practicality while accommodating draped rear fabrics, marking a shift from all-encompassing hoops to targeted support.^[2] The crinolette paved the way for the dominant bustle of the 1870s, which projected skirts backward via horsehair pads or steel frames, as initially devised by Charles Frederick Worth in 1867 as an underskirt alternative to crinolines. This reconfiguration enabled slimmer daytime silhouettes amid evolving tastes for verticality and enhanced mobility, bolstered by industrial tools like sewing machines that streamlined production of fitted garments.^[2]^[31] A secondary bustle phase revived around 1883, incorporating exaggerated steel reinforcements for evening ensembles where fuller skirt volumes persisted via hoop elements, though the Aesthetic Movement's push for fluid, less rigid draping increasingly favored simplified forms over structural excess.^[2] Ultimately, by the 1890s, bustles and crinoline derivatives faded with the rise of tailored skirts aligned to the "New Woman" ethos, relegating petticoats to lightweight, non-structural linings that prioritized unencumbered movement in line with broader societal demands for functionality.^[2]

Technical Features and Innovations

Design Principles and Engineering

The cage crinoline's core engineering principle involved concentric spring steel hoops of progressively increasing diameter, typically numbering 9 to 18, attached to vertical fabric tapes such as wool braid or cotton twill, forming a flexible skeletal cage that extended skirts outward through inherent hoop tension.^[24]^[6] This radial distribution of force resisted gravitational collapse, with each hoop's elastic resilience maintaining circular shape and evenly supporting the skirt's weight across the structure, unlike the sagging bulk of multiple layered petticoats.^[23] The design optimized strength-to-weight by employing watchspring-derived steel, rendering the assembly lightweight—often under 5 pounds total—while providing superior stability and load-bearing capacity compared to fabric precursors weighing several times more.^[6]^[32] Innovations addressed functionality limitations, such as rigidity during motion; a 1863 patent introduced metal hinges at rear connections, enabling hoops to contract or expand for sitting and navigation through narrow spaces, thereby mitigating risks of tipping or entanglement inherent in fixed-frame designs.^[6] Collapsible variants further incorporated segmented hoops or releasable joints, allowing partial disassembly for storage or travel, as evidenced in period manufacturing adaptations that prioritized mechanical adaptability over static support.^[6] These features stemmed from empirical refinements in metalworking, drawing on spring steel's tensile properties to balance expansion under load with controlled flexibility, ensuring the framework's durability under dynamic stresses like walking or wind.^[24] Material selection emphasized steel's superior modulus of elasticity over alternatives like whalebone or reeds, with finer gauges at upper levels for minimal bulk near the waist and progressively robust sections below to handle greater circumferential forces, achieving an efficient ratio of hoop strength to overall mass.^[6] Patented frameworks, such as R.C. Milliet's 1856 design with 10 graduated hoops, exemplified this by integrating tape reinforcements to prevent hoop migration and shear failure, validating the structure's causal reliability through mass production scalability.^[6]

Adaptations for Functionality

Working-class women adapted crinolines by employing reduced-scale versions with fewer steel hoops or substituting fabric-stiffened petticoats made from horsehair and cotton, which minimized bulk for domestic and factory labor while preserving modest skirt projection.^[2] These modifications addressed the impracticality of full cage structures in active settings, as the lighter cage crinoline overall supplanted heavier multi-layered petticoats, weighing approximately 3-5 pounds compared to 10-14 pounds previously, thus enabling practical wear across socioeconomic classes without originating solely from elite fashion.^[5] Travel-oriented innovations included collapsible cage designs, patented in April 1856 by R.C. Milliet in Paris, featuring articulated steel hoops suspended on tapes that folded compactly for storage and transport, enhancing portability for extended journeys.^[33] Such engineering reduced effective weight and volume by allowing disassembly, with subsequent patents in the 1860s refining joint mechanisms for 20-30% lighter configurations suitable for rail or sea travel. For equestrian pursuits, divided crinoline variants or minimal-hoop bases paired with split skirts emerged by the late 1850s, permitting safer astride riding by mitigating entanglement risks while retaining structural support.^[33] The crinoline's core material—a stiff horsehair weave—extended to menswear stiffening, such as in coat linings and collar supports during the mid-19th century, reflecting engineering principles focused on durability and form rather than gender-exclusive constraints.^[33] This parallel usage in utilitarian garment construction highlights causal adaptations driven by material functionality, independent of narratives framing it solely as a tool of female restriction.^[2]

Fashion Benefits and Widespread Adoption

The cage crinoline, introduced in the mid-1850s, offered substantial practical advantages over preceding layered petticoats by reducing overall weight to approximately 2 to 5 pounds for a typical frame, compared to 10 to 14 pounds or more for the multiple starched underskirts required to achieve similar volume.^[12]^[34] This lighter construction enhanced wearer mobility, as the flexible steel hoops allowed for greater ease of movement and sitting without the cumbersome bulk of fabric layers that restricted agility.^[23]^[2] Hygiene also improved, as the single structured frame eliminated the need for several petticoats that trapped dirt, sweat, and odors against the body, enabling outer dresses to remain cleaner with less frequent laundering of heavy underlayers.^[5] Manufacturers like W. E. Thomson, dominant in the 1850s and 1860s, produced collapsible designs that further supported compact storage and daily practicality, appealing to women seeking functional volume without excessive encumbrance.^[6] Aesthetically, the crinoline enabled a precise bell-shaped silhouette peaking in the early 1860s, with circumferences reaching up to 18 feet at the hem, by providing rigid support that prevented sagging and maintained proportional harmony between waist and skirt flare as dictated by contemporary dressmaking standards.^[23] This engineering allowed skirts to project outward evenly, accentuating the slimmer waistlines achieved via corsetry and creating an elongated, statuesque visual effect favored in fashion plates and tailoring guides of the era.^[35] Adoption spread rapidly from middle-class origins driven by industrial production efficiencies, with factory-made crinolines affordable enough for working women by the late 1850s, as evidenced by their use among factory workers alongside elite classes.^[5] Worn across social strata—from royalty to laborers—the structure's bottom-up appeal reflected practical demands for volume in everyday dress rather than elite imposition, with peak diffusion in the 1860s supported by widespread manufacturing in England and Europe.^[36]^[6]

Criticisms, Hazards, and Empirical Risks

Crinolines posed acute fire hazards due to their voluminous skirts, often layered with highly flammable materials like cotton muslin, gauze, and tarlatan, which ignited rapidly near open hearths, candles, or lamps prevalent in mid-19th-century households. Contemporary accounts documented frequent tragedies, with estimates indicating approximately 3,000 women died in England from crinoline-related fires between the late 1850s and 1860s.^[37] The Lancet medical journal reported in 1860 that around 3,000 such fatalities occurred annually in Britain alone, attributing the rapid spread of flames to the skirts' airy structure trapping heat and oxygen.^[38] While the shift to steel cage crinolines in the late 1850s reduced the quantity of flammable petticoat fabric underneath, the lightweight, voluminous outer dresses continued to fuel deadly infernos, as evidenced by persistent reports of women perishing despite the structural innovation.^[39] Beyond fires, crinolines presented mechanical risks, including entanglement in carriage wheels, factory machinery, and sudden gusts of wind that could uplift or topple wearers. Satirical publications like Punch exaggerated these perils for humor, depicting women ensnared or airborne, yet verified incidents confirmed injuries and occasional fatalities from such mishaps, particularly among working-class women operating industrial equipment.^[22] These hazards were not negligible, with hoops catching in obstacles leading to falls or crushing, though comprehensive statistics remain scarce due to inconsistent record-keeping.^[40] Critiques of impracticality centered on challenges in everyday mobility, such as sitting—which demanded tilting backward to avoid skewering oneself or others—and maneuvering through doorways, crowds, or furniture, given skirt diameters exceeding 5 meters at their 1860s zenith.^[41] However, empirical wearer experiences, as reflected in period testimonials, indicated that cage crinolines afforded net mobility advantages over preceding multi-layered horsehair petticoats, which weighed up to 14 pounds and restricted gait, thereby diminishing chronic strains despite the new form's awkwardness in confined spaces.^[42] This trade-off highlights how structural lightness mitigated some pre-crinoline physical burdens, even as it introduced context-specific risks.^[8]

Debates on Autonomy and Imposition

The crinoline's voluminous structure allowed women to assert physical presence in increasingly crowded public spaces during the mid-19th century, functioning as a form of spatial autonomy by creating a protective buffer zone that deterred unwanted intrusions and symbolized personal agency.^[43]^[23] This "private space within the public sphere" enabled greater independence in navigation and interaction, aligning with women's expanding roles outside the domestic realm.^[43] Adoption patterns further supported pro-autonomy interpretations, as the garment spread rapidly across social strata, including to working-class women who sought inexpensive variants to emulate elite styles, reflecting individual choice and aspiration rather than enforced uniformity.^[1] Critiques of imposition, often voiced by moralists and satirists, portrayed the crinoline as an artificial exaggeration that burdened women with impracticality and immodesty, potentially reinforcing patriarchal norms through enforced silhouette conformity.^[44] Publications like Punch magazine, through cartoons in the 1850s and 1860s, mocked its excesses—depicting oversized hoops causing chaos in doorways or churches—and decried "crinolinomania" as a societal affliction that prioritized vanity over virtue.^[44]^[45] Yet, these views overlooked empirical evidence of voluntary uptake, including by factory girls and maids, which contradicted narratives of top-down control and highlighted fashion's role in cross-class self-expression.^[1] A balanced assessment reveals fashion dynamics as influenced by peer emulation and market availability rather than coercion, with no historical records indicating legal or familial mandates for crinoline use; trend pressures mirrored those in other eras but lacked causal links to diminished agency.^[46] Post-20th-century feminist rereadings, framing the crinoline as emblematic of patriarchal subjugation, constitute selective reinterpretations unsupported by contemporaneous accounts of women's active participation in its promotion and wear.^[46] Such claims prioritize ideological lenses over adoption data, which affirm the garment's alignment with era-specific expressions of femininity and status.^[47]

Modern Legacy and Uses

20th Century Revivals

The crinoline experienced a notable revival in the mid-20th century, particularly following World War II, as part of Christian Dior's "New Look" introduced in 1947, which emphasized exaggerated feminine silhouettes with full skirts supported by multi-layered petticoats constructed from stiff netting or tulle rather than rigid steel hoops.^[48] These synthetic crinolines provided lightweight volume, enabling the bell-shaped skirts that contrasted sharply with wartime austerity fashions.^[49] By the early 1950s, such petticoats became integral to everyday and subcultural styles, including poodle skirts and early rockabilly outfits, where tiers of nylon tulle or synthetic horsehair braid created bounce and flare for dancing.^[50] In theater and film, crinolines saw periodic use for historical accuracy and dramatic effect, exemplified by the 1939 production of Gone with the Wind, where costume designer Walter Plunkett crafted replicas of 19th-century cage crinolines using adapted lightweight materials to evoke the antebellum era's voluminous gowns.^[51] This influenced subsequent costume revivals in mid-century cinema and stage productions, prioritizing synthetics for mobility and reduced weight over original steel frameworks.^[52] Subcultural persistence emerged in vintage fashion circles, with crinoline petticoats gaining traction during the 1990s swing revival, as neo-swing enthusiasts and rockabilly communities embraced 1950s aesthetics, leading to increased production and demand for these underskirts in retro dance scenes.^[53] Though specific sales data for crinolines remains anecdotal, the broader revival correlated with platinum-selling neo-swing albums and events that popularized full-skirted looks.^[53] These adaptations tied revivals to nostalgia and performative needs, distinct from 19th-century structural rigidity.

21st Century Applications and Influences

In haute couture, crinoline structures have inspired designers to create dramatic silhouettes, as seen in Alexander McQueen's Spring/Summer 2013 collection where Sarah Burton placed cage crinolines externally atop garments for exaggerated volume and historical reference.^[54] This approach extended to a 2006 silk and metal ball gown incorporating crinoline for rigid form.^[55] Revivals continued into the 2020s, with mini-crinolines appearing on runways to evoke Victorian proportions while adapting to contemporary minimalism, as noted in analyses of bell-shaped skirt trends.^[56] Paris Couture Spring 2025 featured bouncy, poufy skirts reminiscent of crinoline effects, emphasizing volume through layered fabrics.^[57] Bridal fashion employs modern crinoline petticoats to achieve voluminous A-line and ball gown silhouettes, typically featuring 4-6 adjustable hoops for customizable fullness under wedding dresses.^[58] These underskirts, often constructed from nylon netting over plastic or lightweight metal hoops, provide support without the weight of 19th-century steel cages, enabling ease of movement for events.^[59] Sales platforms report steady demand for such items in wedding and formal categories, reflecting their niche utility in enhancing gown structure.^[60] For costume design and historical reenactments, contemporary crinolines utilize plastic hoops coated in fabric for durability, reduced weight compared to traditional materials, and flexibility during wear, such as sitting.^[61] These adaptations support accurate period portrayals in theater, film, and living history events while prioritizing practicality.^[62] Overall, crinoline remains marginal in everyday apparel but sustains influence through targeted markets, with Amazon data indicating growth in bridal and vintage petticoat segments as of 2025.^[63]

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[46]
(PDF) 15 August 1862: The Rise and Fall of the Cage Crinoline
PDF | First introduced to England by France's Empress Eugénie in the late 1850s, the cage crinoline signaled a new era in fashion, reaching peak.
[47]
https://www.thefashionhistorian.com/2010/09/cage-crinoline-as-social-metaphor.html
[48]
A 1950s Fashion History Lesson: Dior's New Look ... - Vogue
Apr 27, 2024 · The nipped-in-the-waist dresses, which exaggerated the feminine silhouette, represented a rapid-speed swing of the pendulum; in the 1940s, ...
[49]
Crinolines & petticoat skirts were big style in the 1950s... and in the ...
Sep 2, 2023 · In the 1950s, the petticoat crinoline made a triumphant return to the fashion scene, with a bounce in its step and a swish in its sway.
[50]
1950s Petticoat - Crinoline Slips - Vintage Dancer
Find vintage style crinoline skirts, crinolines slips, crinoline petticoats and pettipants for vintage, 50s, rockabilly, and pin up outfit.
[51]
The Talented Mr. Plunkett and the Costumes of Gone with the Wind
Sep 1, 2010 · Walter Plunkett is widely remembered as one of the legends of cinematic costume design, largely due to his work on Gone with the Wind.
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photos of costumes for "gone with the wind" movie - Pinterest
Mar 17, 2015 · Pink And White Dress. Pretty Costume. photos of costumes for "gone with the wind" movie | Crinoline dress (Costume of the movie "Gone with the ...
[53]
Flipping Out: Revisiting the 1990s Swing Revival - Mental Floss
Jun 29, 2022 · That makes four neo-swing bands with platinum or better sales. It was a classic example of major labels discovering a vibrant underground ...Missing: crinoline | Show results with:crinoline
[54]
Alexander McQueen's 19th-Century Throwback - Fashionista
Apr 10, 2014 · For Alexander McQueen's spring/summer 2013 bee-themed collection, Sarah Burton appropriated the cage crinoline on top of, rather than underneath ...
[55]
Ball gown, ALEXANDER MCQUEEN, London, Alexander McQUEEN
This Alexander McQueen ball gown, from 2006, is made of silk, crinoline, and metal. It is 197cm long and 32cm at the waist. It is not on display.<|separator|>
[56]
Tracing a trend: crinolines and mini-crinis - Fashion United
Jan 12, 2023 · A big part of mid 19th century fashion involved the crinoline, a wide bell-shaped skirt the aim of which was to make a woman's waist look as tiny as possible.
[57]
Cuckoo for Crinoline Poufs at Paris Couture
Jan 31, 2025 · The models with their punkish mohawks looked like beautiful little sprites in their bouncy skirts with fringed hems and intricately beaded gowns ...
[58]
https://www.bellamerabridal.com/petticoats-crinoline-slips/
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Women Crinoline Petticoat A-line 6 Hoop Skirt Slips Long Underskirt ...
The Crinoline Hoop Petticoats Skirt are good for wedding/evening/Quinceanera/Princess dresses/Ball Gown Slips. It will make your wedding dress more puffy and ...
[60]
https://www.ieiebridal.com/collections/petticoat-and-crinolines-for-wedding-gown
[61]
Crinoline Plastic - Etsy
4.7 1.5K Check out our crinoline plastic selection for the very best in unique or custom, handmade pieces from our costumes shops.
[62]
Historically accurate 1850s/1860s crinoline/hoop skirt undergarment ...
This one is perfect for Civil War/etc. You can cover the hoops in fabric.. they make plastic hoop boning as well, if no one's gonna be looking that close. :).
[63]
trend of crinoline 2025: Drama & Volume Return - Accio
Oct 18, 2025 · Amazon data reveals distinct market segments for crinoline petticoats, with "Bridal & Vintage" and "Wedding & Ball Gown" collections showing ...