The Crinoline or Hoop Skirt

The 1800s crinoline, also called ahoop

skirt or extension skirt, was inspired by the
open cage or frame style of the 16th and
17th century farthingale and the 18th
century pannier. The Victorian crinoline
developed various appearances over it's
fashion lifetime as a result of new designs
and methods of manufacture.
The word crinoline originally referred to a stiff fabric
with a weft of horse hair and a warp of cotton or linen
thread (the Latin crinis meaning hair
and linum meaning flax). This fabric made its first
appearance in fashion in the 1830s when it was used
in women’s petticoats to support and shape the
growing length and diameter of the early Victorian
dress. Often a petticoat of this stiffened fabric was
worn with up to six starched petticoats in an attempt
to achieve the big skirt effect; these tangling petticoats
were heavy, bulky and generally uncomfortable.
The heavy folds of velvet fabric of this Victorian ball gown are supported by a hoop
skirt. At its peak in size, the crinoline reached a diameter of up to 180 centimeters,
almost six feet.
 Next rings of stiffened cord encircling the petticoat were tried.
These corded skirts were too heavy, thus unable to support their
own weight. During the 1850s the extension skirt was developed
with rigidity added to the skirt in the form of cane and whalebone
hoops. These hoops created the desired width but were too easily
broken. Subsequently thin strips of brass replaced the cane but the
brass did not possess sufficient elasticity to enable the skirt to
resume its rounded form after being submitted to considerable
pressure.
Ultimately hoops of flattened steel wire were employed to stiffen
the “extension skirts” of the late 1850s and were found to be lighter
than cane or brass hoops.
Furthermore, the
flattened steel wire was
so elastic and strong that
it could be severely bent
(going through doorways
or sitting), and yet the
skirt would spring back
to its original shape. The cage crinoline was
adopted with enthusiasm; it was light and only
required one or two petticoats worn over the top
to prevent the steel bands from appearing as
ridges in the skirt. At its peak in size, the crinoline
reached a diameter of up to 180 centimeters,
almost six feet. The wearing of the crinoline was
a fashion that was adopted by all classes, and
worn by both women and young girls.
 MID-19th CENTURY CRINOLINE OR HOOP SKIRT
[Photo Credit: Metropolitan Museum of Art Gallery Collection,www.metmuseum.org]
 MID-19th CENTURY CAGE CRINOLINE OR HOOP SKIRT
[Photo Credit: Metropolitan Museum of Art Gallery Collection,www.metmuseum.org]
The best steel for making the wire for the crinoline cage came from England, in the form of
coiled rods, of about ¾ of an inch in thickness. The first operation to which it was submitted,
was heating it to about a bright red heat in a
furnace adapted for the purpose, by which it was
softened. It was next scoured with acid, to remove all
oxide from its surface, after which it was coated with
rye flour and dried in a special apparatus. Next the
steel rod was reduced in diameter, while at the same
time greatly extending its length until it became a No.
19 wire in size, and had been extended in length from
a few yards to no less than two thousand yards. After
having been reduced to the requisite size it was
flattened by drawing it from one reel and winding it
upon another, then hardened and tempered. Lastly
yarn was braided around the wire, and then sent to the
warehouse to be placed in skirts. No less than 60,000
yards of flattened steel wire were made and covered
daily in this operation. These covered wire hoops
were suspended by tapes in the form of a skirt,
descending in increasing diameters from a band worn
around the woman’s waist.
DOUGLAS & SHERWOOD'S PATENT ADJUSTABLE BUSTLE AND SKIRT - 1858
They are made of fine cloth. The Bustle is of fine whalebone, extending part of the way
round the skirt; at their ends are eyelets, through which a corset lace is passed.

In 1858, Douglas & Sherwood referred to themselves as a “manufactory of hooped skirts”

with almost four hundred young women employed in their factory. They advertised their new
style, the “Adjustable Bustle and Skirt” in the February 1858 issue of Godey’s Lady’s Book
and Magazine; the bustle was made with “round whalebone.” Later that year, Douglas &
Sherwood introduced their “Balmoral Skirt”which combined both the hoop and a woolen, red
and black graduated stripe skirt.
 MID-19th CENTURY CRINOLINE OR HOOP SKIRT
[Photo Credit: Metropolitan Museum of Art Gallery Collection,www.metmuseum.org]
DOUGLAS & SHERWOOD'S NEW EXPANSION SKIRT (HOOP SKIRT)- 1858

DOUGLAS & SHERWOOD'S PATENT BALMORAL HOOP SKIRT - 1858

The “Highland” costume was featured in Peterson’s Magazine in 1861. With this dress,
a Balmoral hoop skirt was indispensable. Some ladies made the petticoat of plain gray
flannel, and ornamented it with rows of red cloth or flannel.

In 1859, Osborn & Vincent of New York listed itself as the owners of the extension skirt
patent. Their most popular skirts in 1859 were the “Imperial Skirt” and their new “Champion
Belle.” The latter extension skirt was described as “exceedingly light and graceful,” as well
as “extremely flexible and convenient in carriages, cars, and stages.” In an advertisement,
Osborn & Vincent listed the many manufacturers and dealers of the extension skirt using
their patent:
Douglas & Sherwood, W.S. & C.H. Thomson, J.
Wilcox & Co., Wallace & Sons, Arms Brothers,
J.P. Moran & Co., C. L. Harding, S. H. Doughty,
Chas. A. Postley, R. France, Theodore Schmidt,
Ernest L. Schmidt, H. S. Hewson, Chas. P. Colt,
John Holmes, J. & W. Beck, H. G. McKenna,
Frost & Co., G. M. Jacobs & Co., Jos. B. Wesley,
Moritz Cohen, Emanuel Mandel, Stein & Stern,
David Henius, Fisher & Herman, Union Skirt
Company.
Godey’s Lady’s Book and Magazine in 1859
provided a picture of “The Woven Extension
Skirt” saying that it was impossible to rip or tear
the tapes “as they were wove in the
springs.” Also in 1859, J. Holmes & Co. stated
that in spite of its lightness and compactness, an
extension skirt’s primary concern was “easy
adjustability into smaller space for the parlor or
expansion into ample dimension for the
promenade.” J. Holmes & Co. introduced their
new patent extension skirt with a system of clasps
and slides; this skirt had a watch spring bustle
wrought into the skirt, forming a uniform bishop
shape throwing the fullness at the back, and
hanging gracefully straight in the front.
The crinoline reached its maximum dimensions by 1860 but then gradually began to
change. An 1860 ladies’ magazine referred to the crinoline as “bird cagey
contrivances.”
 The crinoline reached its maximum dimensions by
1860 but then gradually began to change. An 1860
ladies’ magazine referred to the crinoline as “bird
cagey contrivances” and stated, “The pyramidal
crinoline, diminished in size but in demi-train, is in
favor.” In 1862, the English Woman's Domestic
Magazine recommended the W.S. Thomson crinoline
to “those ladies who prefer the open petticoats, or
cages.” Over 2,000 workers were employed in
Thomson’s London location, producing 4,000
crinoline cages a day. According to the magazine,
Thomson’s crinolines possessed two advantages over
other manufactured skirts: “the binding on which the
steels are threaded cannot break in consequence of it
being so broad; and the eyelet-holes do not wear away
the tape so quickly as do the metal claws usually used
to secure the steels in their places.” Furthermore, the back of the jupon of the Thomson
crinoline was threaded in the shape of a gore, to suit the fashionable train skirts. The upper
half of the back part of the crinoline was made with a small inside one which passed half way
round; but being smaller than the outside, threw the skirt off behind in a demi-train.
By them middle of the 1860s, the dome-like shape of a women’s skirt decreased with the
volume disappearing in the front and gathering at the back. In 1865, A.T. Stewart advertised
a “Bon-Ton Skirt,” a wire flexible spring skirt that kept the front of the skirt “fitting closely
to the form.” By 1867, Godey’s Lady’s Book and Magazinedecided that “ladies enjoyed
more advantages respecting dress – close and flowing sleeves, short and long skirts, tight-
fitting, case like dresses, others with plaits at the back . . . waists fitting corset-like over the
hips, hoops clinging to the figure, and the positive extreme bustles!” The pannier fullness at
the back was made to curve gracefully with the front of the skirt perfectly straight, fitting
smoothly over the figure.
THOMSON'S CRINOLINE,
Late 1860s
Label reads: Prize Medal Skirt. By Her Majesty's Royal Patent Registered Trade Mark 20 the
royal coat of arms and a crown printed on the herringbone woven tape waistband, vertical
herringbone woven tapes 1 inch; 2.5 cm wide, fastened to the hoops with brass eyelets, the
front two crossing, nineteen cotton covered steel adjustable hoops, height 32 inches; 82 cm;
diameter approximately 2 feet; 60 cm. Available for purchase from Meg Andrews at
www.meg-andrews.com.
In 1868, a Boston Massachusetts’ store advertised latest styles of “wire skirts.” Prices of the
hoop skirts varied according to the number of springs, which ranged from 18 to 50 springs.

 Twenty spring, wide tape, heavy wire Skirts for..........62 cents

 Twenty-five spring, wide tape, heavy wire Skirts..........75 cents
 Thirty spring, wide tape, heavy wire Skirts..........87 cents
 Twenty spring, seven wide tapes, heavy bottom wire Skirt..........$1.00
 Twenty-five spring, seven wide tapes, heavy bottom, two yards to two and three-fourths
yards..........1.12
 Thirty spring, seven wide tapes, heavy bottom, two yards to two and three-fourth
yards..........1.25
 Forty spring, seven wide tapes, heavy bottom, former price $1.75, now..........1.50
 Fifty spring, seven 2-inch tapes, former price $1.75, now..........1.50
 Twenty-two spring, wide tape and gored, thirty-three inches long..........1.12
 Twenty-three spring Skirts, six wide tapes, double fastenings, only..........1.00
 Eighteen spring Skirts, heavy wire, thirty-two to thirty-five inches long..........85 cents
 Twenty-seven spring Skirts, with six wide tapes, (new style)..........$1.12
 Thirty-three spring Skirts, seven tapes and gored, extra long, thirty-eight to forty-two
inches..........1.37
 Twenty-eight spring Skirts, extra long, former price $1.50, now..........1.25
 Twenty-three spring Skirts, extra long, different sizes round..........1.12
 Twenty five spring Skirts, extra size waist, twenty-eight to thirty-six inch belts..........1.25

In 1868, Harper’s Bazaar spoke of the new “Winged Lace” skirt in which the upper part of
the under-skirt was laced together, then came a few hoops, and below there was the open
winged front. This style prevented the feet from becoming entangled in the skirt. The skirt
measured 85 inches in circumference; could be put in the tub and washed thoroughly; with a
retail price of $3.00. Lastly in 1868, Arthur’s Home Magazine reported, “The fickle goddess
appears to have decreed as follows . . . there shall be abundance of crinoline, or bustle, or
panier, or tournure (for the bunch at the back goes by a variety of names), just below the
waist, but that there should be little on none at the lower half of the skirt.”