Mention the word “crinoline” and feminists will simply laugh at you, happily proclaiming the age of ridiculous and unnecessary constrictions and of waists strangled by voluminous skirts billowing out of fitted bodices, has long gone. But an interesting exhibition at Paris’ Musée Galliera is at present exploring the power of crinoline by focusing on its importance in the history of fashion.
Curated by Catherine Join-Dieterle, “Sous l’Empire des Crinolines 1852-1870” (open until 26th April), is an interesting exploration of crinoline in the Second Empire. The visitors are able to discover the history of crinoline through 300 items, such as luxurious evening gowns and ball dresses, accessories, jewels by Cartier, Boucheron and Mellerio dits Meller and perfumes. Some of the displayed items are very rare and belonged to Empress Eugénie, the spouse of Napoleon III.
The word “crinoline” comes from crinolino, a fabric woven with horsehair, used at first as a lining for hats and later on to stiffen petticoats and support voluminous taffeta, lace, tulle and mousseline skirts. In the early 1860s the term was instead used to describe a cage-like structure with graduated steel or whalebone hoops that, held up at the waist, supported the dress. This device gave a round shape to women, but the silhouette of the cage evolved and transformed throughout the years. By the end of the 60s, the focus of the skirts shifted towards the back of the body, accentuating the bottom.
Ample skirts, opulent fabrics and excessive decorations became the trend for decades and the wearers adopted them to reveal their wealth and social status. Opening with a sumptuous ball scene, the exhibition explores the history of crinoline through the decades and in different contexts, from domestic environments to more mundane events. The influence of the House of Charles Worth on crinoline and the arrival of such fashion and of luxury products in the magasins de nouveautés, early versions of the department stores, are also analysed.
Textile lovers will be able to admire sophisticate fabrics in eye-catching vivid colours such as bright purple and intense blue created by using new synthetic dyes, patterned, printed and striped skirts decorated with fringes, ribbons, trimmings and lace. The historical period celebrated by this exhibition is identified by many as the time that gave birth to haute couture and this is testified also by the modern interpretations of crinolines on display, designed by Jean-Paul Gaultier and John Galliano for Dior.
The exhibition is accompanied by a rich calendar of events that features concerts, talks and films such as Max Ophüls’s Lola Montès.
I always found crinolines rather excessive and a bit over the top for my tastes, but I think this exhibition offers an impeccably curated historical and social journey through fashion. If you are in Paris now or if you will be visiting the French capital in the next few days or months, try not to miss it.
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