Bustle

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Bustle, lady's undergarment, England, c. 1885. Los Angeles County Museum of Art M.2007.211.399 Bustle c. 1885.jpg
Bustle, lady's undergarment, England, c. 1885. Los Angeles County Museum of Art M.2007.211.399

A bustle is a padded undergarment or wire frame used to add fullness, or support the drapery, at the back of women's dresses in the mid-to-late 19th century. [1] [2] Bustles are worn under the skirt in the back, just below the waist, to keep the skirt from dragging. Heavy fabric tended to pull the back of a skirt down and flatten it. As a result a woman's petticoated skirt would lose its shape during everyday wear (from merely sitting down or moving about).

Contents

Origin

Women throughout history have used various methods to shape their skirts to accentuate the back of the hips. Padded cushions, historically called "bum rolls," "bearers," and "cork rumps," were among the many methods popular in Europe. They enjoyed sporadic popularity starting in the 16th century and were especially popular in France in the late 18th century. [3] [4] The crinoline was a type of integrated padded petticoat that developed from this technology. The more elaborate and specialized bustle eventually replaced the crinoline. While the wireframe bustle was popular only very briefly, simpler padded cushions returned after the bustle went out of fashion, and have remained popular. [3] [5]

The bustle has been linked to Sarah Baartman by feminist scholars such as Anne Fausto-Sterling. [6] [7] Baartman, a Khoikhoi woman from South Africa, was featured as a circus attraction in Europe in the early 1800s, due to the particular abundance of tissue on her buttocks. [8] This phenotype is called steatopygia. It is not a medical disorder, but it has a genetic cause which is common in Khoisan and Pygmy peoples but rare in Europe. [9]

However, the use of padded cushions and petticoats to accentuate the general shape of the buttocks was already well-established in Europe in the 16th century, long before Sarah Baartman. [3] [4]

A US patent illustration of a concept crinoline/bustle. 1867 USpatent63234 1867.gif
A US patent illustration of a concept crinoline/bustle. 1867

History

In the early stages of the fashion for the bustle, the fullness to the back of the skirts was carried quite low and often fanned out to create a train. The transition from the voluminous crinoline-enhanced skirts of the 1850s and 1860s can be seen in the loops and gathers of fabric and trimmings worn during this period. The bustle later evolved into a much more pronounced humped shape on the back of the skirt immediately below the waist, with the fabric of the skirts falling quite sharply to the floor, changing the shape of the silhouette. [10]

Transition from crinoline (1863–1872)

As the fashion for crinolines wore on, their shape changed. Instead of the large bell-like silhouette previously in vogue, they began to flatten out at the front and sides, creating more fullness at the back of the skirts. [11] This style was known as the "train". One type of crinoline, the crinolette, created a shape very similar to the one produced by a bustle. Crinolettes were more restrictive than traditional crinolines, as the flat front and bulk created around the posterior made sitting down more difficult for the wearer. [12] The excess skirt fabric created by this alteration in shape was looped around to the back, again creating increased fullness.

Early bustle (1869–1876)

The bustle later developed into a feature of fashion on its own after the overskirt of the late 1860s was draped up toward the back and some kind of support was needed for the new draped shape. [13] Fullness of some sort was still considered necessary to make the waist look smaller and the bustle eventually replaced the crinoline completely. The bustle was worn in different shapes for most of the 1870s and 1880s, with a short period of non-bustled, flat-backed dresses from 1878 to 1882.

Late bustle (1881–1889)

English bustle supports worn as undergarments, from 1875 to 1885. English bustles 1875-1885 LACMA.jpg
English bustle supports worn as undergarments, from 1875 to 1885.
Woman wearing a dress with a bustle, USA, about mid. 1880s Bustle.JPG
Woman wearing a dress with a bustle, USA, about mid. 1880s

The bustle reappeared in late 1881, [14] and was exaggerated to become a major fashion feature in the mid and late 1880s, in 1885 reaching preposterous proportions to modern eyes, as used in the play Arms and the Man by George Bernard Shaw. The fashion for large bustles ended in 1889. [15]

1889–1913

The bustle then survived into the 1890s and early 20th century, as a skirt support was still needed and the curve the bustle provided on the back of the body emphasized the hips. [3] The bustle had completely disappeared by 1905, as the long corset of the early 20th century was now successful in shaping the body to protrude behind. [16] The bustle was also abandoned by some women for more practical dress to be able to use the newly invented bicycle. [16]

Contemporary fashion

Bustles and bustle gowns are rarely worn in contemporary society. Notable exceptions survive in the realms of haute couture and bridal fashion, in addition to dedicated Neo-Victorian aesthetic circles including the steampunk, Gothic, and Lolita subcultures. Bustles are also employed as part of period costuming in film and theatre: an example would be the 1992 film Bram Stoker's Dracula , for which costume designer Eiko Ishioka won an Academy Award. The film features several extravagant bustle gowns created for female leads Winona Ryder and Sadie Frost.[ citation needed ]

Other usage

See also

Related Research Articles

<span class="mw-page-title-main">Lingerie</span> Womens undergarments including sleepwear

Lingerie is a category of primarily women's clothing including undergarments, sleepwear, and lightweight robes. The choice of the word is often motivated by an intention to imply that the garments are alluring, fashionable, or both. In a 2015 US survey, 75% of women reported having worn "sexy lingerie" in their lifetime.

<span class="mw-page-title-main">Victorian fashion</span> Fashions and trends in British culture during the Victorian era

Victorian fashion consists of the various fashions and trends in British culture that emerged and developed in the United Kingdom and the British Empire throughout the Victorian era, roughly from the 1830s through the 1890s. The period saw many changes in fashion, including changes in styles, fashion technology and the methods of distribution. Various movement in architecture, literature, and the decorative and visual arts as well as a changing perception of gender roles also influenced fashion.

<span class="mw-page-title-main">Skirt</span> Clothing worn from the waist or hips

A skirt is the lower part of a dress or a separate outer garment that covers a person from the waist downwards.

<span class="mw-page-title-main">Crinoline</span> Petticoat designed to hold out a skirt

A crinoline is a stiff or structured petticoat designed to hold out a skirt, popular at various times since the mid-19th century. Originally, crinoline described a stiff fabric made of horsehair ("crin") and cotton or linen which was used to make underskirts and as a dress lining. The term crin or crinoline continues to be applied to a nylon stiffening tape used for interfacing and lining hemlines in the 21st century.

<span class="mw-page-title-main">Petticoat</span> Skirt-like undergarment, sometimes intended to show, worn under a skirt or dress

A petticoat or underskirt is an article of clothing, a type of undergarment worn under a skirt or a dress. Its precise meaning varies over centuries and between countries.

<span class="mw-page-title-main">1860s in Western fashion</span> Costume and fashion of the 1860s

1860s fashion in European and European-influenced countries is characterized by extremely full-skirted women's fashions relying on crinolines and hoops and the emergence of "alternative fashions" under the influence of the Artistic Dress movement.

<span class="mw-page-title-main">1870s in Western fashion</span> Costume and fashion of the 1870s

1870s fashion in European and European-influenced clothing is characterized by a gradual return to a narrow silhouette after the full-skirted fashions of the 1850s and 1860s.

<span class="mw-page-title-main">Victorian dress reform</span> Victorian era design movement favouring practical womens clothing

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<span class="mw-page-title-main">Bodice</span> Clothing for women and girls

A bodice is an article of clothing traditionally for women and girls, covering the torso from the neck to the waist. The term typically refers to a specific type of upper garment common in Europe during the 16th to the 18th century, or to the upper portion of a modern dress to distinguish it from the skirt and sleeves. The name bodice is etymologically an odd plural spelling of "body" and comes from an older garment called a pair of bodies.

<span class="mw-page-title-main">Ball gown</span> Type of evening gown

A ball gown, ballgown or gown is a type of evening gown worn to a ball or a formal event. Most versions are cut off the shoulder with a low décolletage, exposed arms, and long bouffant styled skirts. Such gowns are typically worn with an opera-length white gloves, vintage jewelry or couture, and a stole, cape, or cloak in lieu of a coat. Where "state decorations" are to be worn, they are on a bow pinned to the chest, and married women wear a tiara if they have one. Although synthetic fabrics are now sometimes used, the most common fabrics are satin, silk, taffeta and velvet with trimmings of lace, pearls, sequins, embroidery, ruffles, ribbons, rosettes and ruching.

<span class="mw-page-title-main">Hoop skirt</span> Undergarment that holds the shape of a dress

A hoop skirt or hoopskirt is a women's undergarment worn in various periods to hold the skirt extended into a fashionable shape.

<span class="mw-page-title-main">Foundation garment</span> Undergarment designed to mold and shape the body to a fashionable silhouette

A foundation garment is an undergarment designed to impermanently alter the wearer's body shape, to achieve what some view as a more fashionable figure. The function of a foundation garment is not to enhance a bodily feature but to make it look more presentable.

<span class="mw-page-title-main">1840s in Western fashion</span> Costume and fashion of the 1840s

1840s fashion in European and European-influenced clothing is characterized by a narrow, natural shoulder line following the exaggerated puffed sleeves of the later 1820s and 1830s. The narrower shoulder was accompanied by a lower waistline for both men and women.

<span class="mw-page-title-main">1850s in Western fashion</span> Costume and fashion of the 1850s

1850s fashion in Western and Western-influenced clothing is characterized by an increase in the width of women's skirts supported by crinolines or hoops, the mass production of sewing machines, and the beginnings of dress reform. Masculine styles began to originate more in London, while female fashions originated almost exclusively in Paris.

A dolman is either a military shirt, or a jacket decorated with braiding, first worn by Hungarian hussars. The word is of Turkish origin, and after being adopted into Hungarian, has propagated to other languages. The garment was worn by peasants from the 16th century onward and eventually spread throughout the country, mainly within wealthy peasant circles. It reached people living in the poorest conditions only at the end of the 19th century.

<span class="mw-page-title-main">1880s in Western fashion</span> Costume and fashion of the 1880s

1880s fashion in Western and Western-influenced countries is characterized by the return of the bustle. The long, lean line of the late 1870s was replaced by a full, curvy silhouette with gradually widening shoulders. Fashionable waists were low and tiny below a full, low bust supported by a corset. The Rational Dress Society was founded in 1881 in reaction to the extremes of fashionable corsetry.

<span class="mw-page-title-main">National Museum of Costume</span>

The National Museum of Costume was located at Shambellie House, in New Abbey, Dumfries and Galloway, Scotland and it formed part of the National Museums of Scotland. The museum started operating in 1982. The museum allowed a look at fashion and the lifestyle of the wealthy from the 1850s to the 1950s. The clothes were presented in lifelike room settings. In January 2013, National Museums Scotland announced that the National Museum of Costume was to close and the site would not reopen for 2013.

<span class="mw-page-title-main">Underwear</span> Clothes worn under other clothes

Underwear, underclothing, or undergarments are items of clothing worn beneath outer clothes, usually in direct contact with the skin, although they may comprise more than a single layer. They serve to keep outer clothing from being soiled or damaged by bodily excretions, to lessen the friction of outerwear against the skin, to shape the body, and to provide concealment or support for parts of it. In cold weather, long underwear is sometimes worn to provide additional warmth. Special types of undergarments have religious significance. Some items of clothing are designed as undergarments, while others, such as T-shirts and certain types of shorts, are appropriate both as underwear and outerwear. If made of suitable material or textile, some underwear can serve as nightwear or swimwear, and some undergarments are intended for sexual attraction or visual appeal.

<span class="mw-page-title-main">Waist cincher</span> Type of corset (garment)

A waist cincher is a belt worn around the waist to make the wearer's waist physically smaller, or to create the illusion of being smaller.

<span class="mw-page-title-main">Overskirt</span>

An overskirt is a type of women's short skirt which is draped over another garment, such as a skirt, breeches, or trousers. Although peplum is often used as another term for overskirt, it should not be confused with the peplos or "peplum dress", which was worn in ancient Greece.

References

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  2. "Nylon Mag Called This Amazing Woman a "Freak" — This Is Her Real Story". Mic.com. 4 January 2016. Retrieved 1 December 2018.
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  4. 1 2 Cumming, Valerie; Cunnington, C. Willett; Cunnington, Phillis (2017). The dictionary of fashion history (2nd ed.). New York: Bloomsbury Visual Arts. ISBN   978-1-4725-7770-2.
  5. Chugay, Nikolas V.; Chugay, Paul N.; Shiffman, Melvin A. (2014-04-11). Body Sculpting with Silicone Implants. Springer Science & Business Media. ISBN   9783319049571.
  6. "Saartjie Baartman, Victorians, and the Bustle's Disturbing History | Art & Object". www.artandobject.com. Retrieved 2024-04-05.
  7. Fausto-Sterling, Anne (2001). 'Gender, Race and Nation: The comparative anatomy of "Hottentot" women in Europe, 1815-1817' in The Gender Science Reader. London, England: Routledge. pp. 345–366. ISBN   0-415-21358-4.
  8. Alexandre (2021-03-08). "Saartjie Baartman: impacto de uma doença desconhecida". Cultura e Saúde (in Brazilian Portuguese). Retrieved 2024-03-01.
  9. "Chapter 5: A Physical Examination". Andaman.org. Archived from the original on July 10, 2012. Retrieved 2012-08-13.
  10. "Bustle | clothing". Encyclopedia Britannica . Retrieved 2021-04-11.
  11. "1860-1869 | Fashion History Timeline". fashionhistory.fitnyc.edu. Retrieved 2020-07-31.
  12. "From the Crinoline, to the Crinolette, to the Bustle: 1860-1880". Victoria and Albert Museum . 2011-06-24. Retrieved 2020-07-31.
  13. "History of 1870s Bustles". Wisconsin Historical Society . Archived from the original on 2012-09-14. Retrieved 2013-06-27.
  14. Punch; December 6; 1881
  15. Corsets and Crinolines by Norah Waugh, 1990, p. 127ff
  16. 1 2 Christie-Robin, Julia; Orzada, Belinda T.; López-Gydosh, Dilia (December 2012). "From Bustles to Bloomers: Exploring the Bicycle's Influence on American Women's Fashion, 1880–1914". The Journal of American Culture. 35 (4): 315–331. doi:10.1111/jacc.12002. ISSN   1542-7331.
  17. Chapelle, Howard I. (1994). Yacht Designing and Planning. New York: Norton. pp. 80–81. ISBN   0393037568. OCLC   33814063.
  18. Martin, Murilee (July 24, 2017). "Junkyard Find: 1983 Cadillac Bustleback Seville". The Truth About Cars.
  19. "The Neoclassic Bustleback". Hemmings Motor News . 1 December 2012. Retrieved 16 February 2020.