Editing Crinoline (section)

==20th century==
[[File:War crinoline, L'Art et la Mode, 1916.jpg|thumb|upright|War crinoline, 1916]]
During [[World War I]], the "war crinoline" became fashionable, between 1915 and 1917.<ref>Waloschek, Morris & Seeling, p. 60. "In 1915 [...] the war crinoline was introduded [...] two years later it vanished."</ref> This style featured wide, full mid-calf length skirts, and was described as practical (for enabling freedom of walking and movement) and patriotic, as the sight of attractively dressed women was expected to cheer up soldiers on leave.<ref name=steele>Steele (1988), pp. 237–238.</ref><ref>Milford-Cottam, p. 59.</ref> The full skirts of the war crinoline endured in the [[robe de style]] of the 1920s.<ref>Lehnert, p. 17. "The war crinoline lived on in the form of the "robe de style..."</ref>

In the late 1930s, just before the outbreak of [[World War II]], there was a revival of the hooped crinoline from designers such as [[Edward Molyneux]], who put hoops in both day skirts and evening gowns,<ref>{{cite web|last1=Staff writer |title=Evening dress, Edward Molyneux, 1939 |url=https://collections.vam.ac.uk/item/O15570/evening-dress-edward-molyneux/ |website=Search the Collections |publisher=Victoria and Albert Museum |access-date=5 June 2015}}</ref> and [[Norman Hartnell]], whose late 1930s [[Franz Xaver Winterhalter|Winterhalter]]-inspired crinoline designs for [[Queen Elizabeth The Queen Mother]] were so successful that the Queen is popularly (if inaccurately) credited with having single-handedly brought crinolines back into fashion.<ref>Cumming, p. 176</ref><ref>Glynn, p. 117: "[[George VI|Albert, Duke of York]] [...] indicated to Hartnell that a return to the crinoline dresses shown in the Winterhalter portraits at the Palace would be in order..."</ref> Both as Queen, and as the Queen Mother, Elizabeth adopted the traditional bell-shaped crinoline as her signature look for evening wear and state occasions.<ref>{{cite web|last1=Staff writer|title=Evening dress worn by HM Queen Elizabeth the Queen Mother, 1953 |url=https://collections.vam.ac.uk/item/O138933/evening-dress-hartnell-norman/ |website=Search the Collections |publisher=Victoria and Albert Museum |access-date=6 June 2015}}</ref> The film ''[[Gone with the Wind (film)|Gone with the Wind]]'', released in 1939, inspired the American fashion for [[prom]] dresses with crinolines in Spring 1940.<ref>[https://books.google.com/books?id=MvilOZhaRkAC&pg=PR58 Hill], p. 54</ref>

[[File:Christian Dior evening gown called "Zémire", Fall-Winter 1954 01.jpg|thumb|upright|left|Dior evening gown and crinoline petticoat, 1954 ([[Victoria and Albert Museum|V&A]])]]
Following World War II, crinolines were once again revived by designers such as [[Christian Dior]], whose 1947 "New Look" featured full skirts supported by stiffened underskirts.<ref>[https://books.google.com/books?id=YoAgKlO2dfgC&pg=PA49 Blau], p. 49</ref><ref>[https://books.google.com/books?id=mbI4UYThM4cC&pg=PA83 Polan & Tredre], p. 83</ref> Loschek has suggested that, by explicitly referencing the [[Belle Époque]] era and reviving historic styles of corsets and crinolines in his "New Look," Dior was the first designer to introduce the idea of [[postmodernism]] to fashion, albeit unconsciously.<ref>[https://books.google.com/books?id=uZN7HC67MBoC&pg=PA184 Loschek], p. 184</ref> Crinolines were popular throughout the 1950s and into the early 1960s. These were sold in a few clothing stores as late as 1970.

The American designer [[Anne Fogarty]] was particularly noted for her full-skirted designs worn over crinoline petticoats, which were always separate garments from the dress to enable ease of movement and travelling.<ref name=nyf50s>Milbank, p. 188</ref> ''[[Life (magazine)|Life]]'' reported in 1953 on how one of Fogarty's crinoline designs from 1951 was almost exactly duplicated by a design in Dior's latest collection.<ref>{{cite magazine |last1=Staff writer |title=Fogarty was Ahead of Dior |magazine=Life |date=31 August 1953 |page=76 |url=https://books.google.com/books?id=FEgEAAAAMBAJ&pg=PA76}}</ref> Hooped, tiered and/or ruffled crinoline petticoats in nylon, net and cotton were widely worn, as were skirts with integrated hoops.<ref>[https://books.google.com/books?id=pt-o5xnJXvkC&pg=PA91 Young & Young], p. 91.</ref><ref>[https://books.google.com/books?id=pX5r8p1dPjUC&pg=PA119 Ewing], pp. 119–120</ref>

[[File:Vivienne Westwood Mini Crini.jpg|thumb|upright|Westwood's 'mini-crini', 1987]]
In the mid-1980s [[Vivienne Westwood]] revisited the crinoline, taking inspiration from the ballet ''[[Petrushka (ballet)|Petrushka]]'' to produce [[miniskirt]] length versions that she christened the "mini-crini."<ref>{{cite web |last1=Staff writer |title=Vivienne Westwood designs |url=http://www.vam.ac.uk/content/articles/v/vivienne-westwood-designs/ |publisher=Victoria and Albert Museum|access-date=5 June 2015}}</ref> The mini-crini silhouette influenced the work of other designers such as [[Christian Lacroix]]'s "puffball" skirts.<ref>[https://books.google.com/books?id=THRGcg6viZwC&pg=PA149  Evans], in Breward, Ehrman & Evans, p. 149</ref> The Westwood mini-crini was described in 1989 as a combination of two conflicting ideals – the crinoline, representing a "mythology of restriction and encumbrance," and the miniskirt, representing an "mythology of liberation."<ref name=evansthornton>Evans & Thornton, pp. 148–150</ref>

Late 20th- and early 21st-century fashion designers such as [[Alexander McQueen]] and [[John Galliano]] often used crinolines in their designs, with the skirt of one of Galliano's ballgowns for Dior in 1998 reaching a width of 9 feet.<ref>[https://books.google.com/books?id=rL-19_S0-PMC&pg=PA125 Koda], p. 125</ref> Galliano specifically visited the original crinoline manufacturers that Christian Dior himself had used in order to inform and influence his own designs.<ref>{{cite book |last1=Black |first1=Sandy |last2=Leonard |first2=Polly |title=Fashioning fabrics : contemporary textiles in fashion|date=2006|publisher=Black Dog|location=London|isbn=9781904772415|page=40}}</ref> McQueen was fascinated by the crinoline and often referenced it in his collections, cutting away leather ballgowns to reveal the cage beneath, or making it out of silver-decorated cut metal.<ref>{{cite book|last1=Thomas|first1=Dana|title=Gods and Kings: The Rise and Fall of Alexander McQueen and John Galliano |date=2015|publisher=Penguin UK |isbn=9781846146152 |url=https://books.google.com/books?id=MMs6BAAAQBAJ&q=crinoline&pg=PT157}}</ref> One of McQueen's most notable crinoline designs was modelled by the amputee model [[Aimee Mullins]] in a series of photographs by [[Nick Knight (photographer)|Nick Knight]] for ''[[Dazed|Dazed and Confused]]'', in which Mullin's cage crinoline, deliberately worn without overskirts in order to reveal her prosthetic legs, was described as suggesting both a [[Walker (mobility)|walking frame]] and a cage to "contain the unruliness of the unwhole".<ref>[https://books.google.com/books?id=uZN7HC67MBoC&pg=PA80 Loschek], p. 80</ref><ref>[https://books.google.com/books?id=ePZinK8ANu8C&pg=PA48 Bancroft], pp. 48–51</ref> The images from this shoot were declared among the most significant commercial images of 1998, representing Knight and McQueen's dedication to presenting alternatives to the traditional concepts of fashion and physical beauty.<ref>{{cite web |last1=Staff writer |title=Aimee Mullins for Dazed & Confused, 1998 |url=https://collections.vam.ac.uk/item/O83555/aimee-mullins-for-dazed-confused-photograph-knight-nick/?print=1|website=Search the Collections|year=1998 |publisher=Victoria and Albert Museum|access-date=6 July 2015}}</ref> After McQueen's death in 2010, his successor, [[Sarah Burton]], continued the tradition of designing crinolines for the McQueen brand.<ref name=williams/>