And in Russia similar frames were called with the fags(from German. Fischbein- “fish bone, whalebone”)
History of appearance and distribution
There is a version that the pannier appeared in the early 1710s under the influence of the theater: in one of the performances, actresses appeared in wide and incredibly full skirts. At first, as happens with any fashionable novelty, these skirts caused laughter and bewilderment, but then became a favorite style for many years.
The pannier frame helped a woman achieve the “inverted glass” silhouette that was fashionable in the Rococo era. A thin, corseted waist, straight shoulders and a glass-shaped skirt created such an impression. The pannier was fastened with buttons to a rigid corset.
In fact, skirts with hoops appeared earlier - at the end of the 14th century, in Spain. This fashion was picked up by England, where the Spanish princess Catherine of Aragon arrived in 1501 for a wedding. In France, the prototype of the pannier took root a little later.
Over the course of its rather long history (until the 1780s), paniers changed not only their size, but also their shape many times. So, in the years 1720-1730, women wore fluffy round panniers.
The fashion for “antiquity” did not last long, however, and the fashion for a thin waist and wide skirt returned only towards the end of the 20s. The -1860s were marked by a revival of interest in Rococo fashion. The culmination of this hobby was the invention of the crinoline, which finally went out of everyday fashion only at the beginning of the 20th century. By that time, the pomp of crinolines had been reduced to a minimum.
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Literature
- M. N. Mertsalova. Costume from different times and peoples. T.III-IV. M.-SPb.-2001.
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Excerpt characterizing Pannier
- It is quite possible that the theater of war will come so close to us...- Ha ha ha! Theater of war! - said the prince. “I said and say that the theater of war is Poland, and the enemy will never penetrate further than the Neman.
Desalles looked with surprise at the prince, who was talking about the Neman, when the enemy was already at the Dnieper; but Princess Marya, who had forgotten the geographical position of the Neman, thought that what her father said was true.
- When the snow melts, they will drown in the swamps of Poland. “They just can’t see,” the prince said, apparently thinking about the campaign of 1807, which seemed so recent. - Bennigsen should have entered Prussia earlier, things would have taken a different turn...
“But, prince,” Desalles said timidly, “the letter talks about Vitebsk...
“Ah, in the letter, yes...” the prince said dissatisfied, “yes... yes...” His face suddenly took on a gloomy expression. He paused. - Yes, he writes, the French are defeated, which river is this?
Desalles lowered his eyes.
“The prince doesn’t write anything about this,” he said quietly.
- Doesn’t he write? Well, I didn’t make it up myself. - Everyone was silent for a long time.
“Yes... yes... Well, Mikhaila Ivanovich,” he suddenly said, raising his head and pointing to the construction plan, “tell me how you want to remake it...”
Mikhail Ivanovich approached the plan, and the prince, after talking with him about the plan for the new building, looked angrily at Princess Marya and Desalles, and went home.
Princess Marya saw Desalles' embarrassed and surprised gaze fixed on her father, noticed his silence and was amazed that the father had forgotten his son's letter on the table in the living room; but she was afraid not only to speak and ask Desalles about the reason for his embarrassment and silence, but she was afraid to even think about it.
In the evening, Mikhail Ivanovich, sent from the prince, came to Princess Marya for a letter from Prince Andrei, which was forgotten in the living room. Princess Marya submitted the letter. Although it was unpleasant for her, she allowed herself to ask Mikhail Ivanovich what her father was doing.
“They’re all busy,” said Mikhail Ivanovich with a respectfully mocking smile that made Princess Marya turn pale. – They are very worried about the new building. We read a little, and now,” said Mikhail Ivanovich, lowering his voice, “the bureau must have started working on the will.” (Recently, one of the prince’s favorite pastimes was working on the papers that were to remain after his death and which he called his will.)
- Is Alpatych being sent to Smolensk? - asked Princess Marya.
- Why, he’s been waiting for a long time.
When Mikhail Ivanovich returned to the office with the letter, the prince, wearing glasses, with a lampshade over his eyes and a candle, was sitting at the open bureau, with papers in his far-off hand, and in a somewhat solemn pose was reading his papers (remarks, as he called them), which were to be delivered to the sovereign after his death.
When Mikhail Ivanovich entered, there were tears in his eyes, memories of the time when he wrote what he was now reading. He took the letter from Mikhail Ivanovich’s hands, put it in his pocket, put away the papers and called Alpatych, who had been waiting for a long time.
In new collections, designers create voluminous forms of dresses using frames, which were once a mandatory attribute of the outfit of a European socialite of the 18th century, but have lost all meaning these days. Adensya.ru observes what this micro-trend may lead to today.
Pannier frame in history
In the Rococo era, the fluffy shape of skirts was created by panier frames (the word “panier” means “basket” in French), woven from wicker and steel rods or from real whalebone plates. In Russia, frame hoops were worn German name bullshit. For the modern woman It’s hard to imagine how such a heavy and rigid structure can be worn all day under a skirt, but 200 years ago fashionistas were ready to endure any torment for the sake of a beautiful curve of the waist and hips.
Frame forms today
It seems that the designers decided to remember the former pomp of skirts, but approached this very creatively and inventively.
Sarah Burton added significant volume to her hips by using a round plastic frame. The designer suggested wearing this unique pannier frame over a hip-hugging godet skirt.
Beautiful and complex shape was presented in Jean-Paul Gaultier's couture collection this season. Golden metallic swirls formed the complex frame of an architectural bodysuit worn over a naked body.
Jean Paul Gaultier haute couture fall-winter 2012/13
Avant-garde Japanese designer Kunihiko Morinaga (brand Anrealage) uses the frame as a bright, shocking element. Cunningly woven frame structures create unnatural outlines of sleeves, bodices, skirts and hats.
Frame forms are also presented in the collection of the Tokyo brand Alice Auaa, in in this case the pannier frame played the role of a cornice for a skirt in the form of curtains.
At first glance, it may turn out that such games with volumes are nothing more than shocking, created for entertainment, but this trend has an interesting continuation. Any avant-garde idea can be adapted for everyday wear through styling.
Thus, voluminous frame structures that are unacceptable in modern life can be transformed into flat and completely wearable waist and shoulder products, such as Thakoon, in whose collection the frame is depicted in the form of decorative lines that visually widen the hips. Or, like Thom Browne, who presented soft framed fabric forms as a concept that could very well be transformed into a real skirt for the street.
Thom Browneautumn-winter 2012/13
A good example the transformation of a grotesque avant-garde form into something simpler and more universal is presented in the same collection of the Japanese Kunihiko Morinaga, where mesh skirts and coats are “born” from uncomfortable plastic frames, looking like the “skeleton” or “backbone” of clothing due to the air voids between the strips of fabric , but at the same time not at all interfering with the natural movements of the body.
Anrealage spring-summer 2013
Illustrated sewing guide, master class
In order to create ball gown, ladies' dress from another era (for example, a costume of a historical character), fluffy dress princess, maid of honor or queen, you will need an underskirt that gives the dress the necessary shape. This article will help you sew such a skirt yourself. The work will take time, but even a novice seamstress can handle this task if you follow the included instructions.
Before you start sewing, you need to decide what silhouette you want to recreate and what shape the petticoat should be.
1. Silhouette with elbows.
In section, the skirt has an oval cross-section, it widens greatly at the sides, and looks flat in front and behind.
2. Rococo silhouette.
The skirt has a round cross-section and looks equally voluminous from the front and back.
3. Neo-Baroque silhouette.
From the front, the skirt looks wide, but not full. In profile it looks like a "chair".
4. Empire silhouette.
The skirt flares out at the bottom and the waistline is very high. An additional petticoat is not used for this dress.
In different centuries, fashionistas used special devices to give skirts exquisite shapes. Let's look at them in a little more detail. So:
Bustle(from fr. tournure- “posture, demeanor”) - an element of clothing, a removable device in the form of a pad, which was placed by the ladies at the back of the dress just below the waist. The bustle was tied to the waist with a ribbon.
(fr. panier- "basket") - a frame made of willow or metal rods, worn as separate element under the dress, but over the underskirt.
Figs(from German. Fischbein- “fish bone, whalebone”) - the same as pannier, a frame made of whalebone. This name was common in Russia and Germany.
Crinoline (crinis+flax, hair+linen), - initially this was the name of rigid linen or cotton fabric with a base of horsehair, then they began to call this the rigid structure necessary to give the skirt the required shape, similar to the pannier, but much more voluminous.
Now let's look at how to make these costume elements.
To work you will need: tulle or any other light fabric, regiline, padding polyester, flap cotton fabric.
PANNIER
Step 1.
Cut out the skirt details from tulle A And B. The shape of these parts is shown in the diagrams below; it is either a rectangle or a trapezoid. The skirt will gather strongly at the waist. The dotted line indicates the place where the gathering is performed. The dimensions of the parts depend on the desired length of the skirt (height of the part) and the desired fullness of the gathers (width of the part).
Step 2.
Sew regillin to the details of the skirt. Grinding locations are shown in the diagrams. Regilin should end approximately two centimeters from the seams of the parts, because... it does not stick to the seam.
Step 3.
The details are stitched together. Gather the top of the skirt (at the waist), giving the skirt the desired shape.
Step 4.
Cut a belt from cotton fabric and sew it to the skirt. Insert an elastic band into the belt. The skirt should be held fairly firmly at the waist. The pannier is ready!
Let's take a look at the pannier shapes used for different silhouettes.
Pannier for the "elbow" silhouette.
Shown are front and side views.
Part A is a rectangle. Two parts are cut out: front and back. Both practically do not fit together.
Part B - trapezoid. Two parts are cut out: for the left and right sides. Both gather heavily at the waist.
Pannier for the "rococo" silhouette.
Shown are side views and the finished skirt.
Part A is a rectangle. One detail is cut out. The skirt is sewn according to the “tatyanka” principle, while it is strongly gathered at the waist.
Pannier for the neo-baroque silhouette.
Shown is a side view and the finished skirt.
Part A is a rectangle. One piece is cut out for the front of the skirt.
The width of part A is 1/4 the width of the skirt. She pulls herself together a lot.
Part B - trapezoid. One detail is cut out: left side, back, right side.
The width of part B is 3/4 of the width of the skirt. The piece gathers heavily at the waist.
BUSTLE 
Step 1.
Cut out skirt details from any fabric A(1 piece) and B(2 pcs.). The shape of these parts is shown in the diagrams, part A is a “lobe”, part B is a crescent or semi-oval.
Step 2.
Fold the pieces right sides out. Stitch together, leave the seam open small area. Turn the product inside out.
Step 3.
Fill the tournament with padding polyester (or padding polyester fluff, or any other filler). Sew the open seam by hand.
Step 4.
Sew a ribbon (ties) to the product. The tournament is ready!
Let's look at the bustle shapes used for various silhouettes.
Bust for a silhouette with elbows.
Shown is a side view, a front view, and a view of the finished product.
Part A is a lobe, its width is approximately 3 cm, its length is equal to half the waist circumference minus 2 cm.
Part B is a crescent, its width is equal to half the waist circumference, its height is from 10 to 15 cm, depending on your desire.
Two parts A and four parts B are cut out. Two bustles are sewn on the left and right sides. The plot is general.
Tournament for the "rococo" silhouette.
Part B is a semi-oval, its width is equal to 3/4 of the waist circumference, the height is from 15 to 20 cm, depending on your desire.
Two parts B and one part A are cut out. One bustle with a tie is sewn.
Bust for a neo-baroque silhouette.
Shown is a side view, a front view and a view of the finished product.
Part A is a lobe, its width is approximately 3 cm, its length is 3/4 of the waist circumference minus 2 cm.
Part B is a crescent, its width is equal to 3/4 of the waist circumference, its height is from 10 to 15 cm, depending on your desire.
Two parts B and one part A are cut out. One bustle with a tie is sewn.
CRINOLINE
Step 1.
Cut a half sun skirt from tulle (or 3/4 sun, but in this case you will get a very voluminous skirt) depending on how full the skirt you want to get. For more information on constructing a circle skirt pattern, see.
Step 2.
Mark the lines dividing the height of the hem of the skirt into 3 parts (in the figure, lines 1, 2 and 3). Regiline is stitched along these lines and frills are sewn on. If a very full and stiff skirt is required, additional lines must be drawn (dotted lines in the figure).
Step 3.
Stitch regilin along the marked lines, not reaching 2 cm from the cut.
Step 4.
From tulle or lining fabric, cut out rectangles of the desired length (depending on the splendor of the frill) and a width equal to the distance between the drawn lines on the skirt, multiplied by 2.
Step 5.
Draw a line on the rectangle at two-thirds of the height (see figure) and sew a line with a stitch width of 5 mm. Gather up. Fold along the stitch line.
Step 6.
Sew the frills to the skirt, placing them so that the longer part of the frill is at the bottom. The picture shows skirts with three and six frills.
Step 7
Cut a belt from cotton fabric and sew it to the skirt. Insert an elastic band into the belt. The skirt should be held fairly firmly at the waist. Crinoline is ready!
Let's look at crinoline shapes used for various silhouettes.
Crinoline for a silhouette with elbows.
Front view shown.
The frills are sewn in two tiers on the sides, occupying 1/4 of the width of the skirt on the right and 1/4 of the width of the skirt on the left.
Crinoline for the "rococo" silhouette.
The front view is shown; the crinoline looks exactly the same from the side.
3 or 6 tiers of frills are sewn on depending on your desire.
Crinoline for a neo-baroque silhouette.
Side and front views are shown.
Frills are sewn on the back, occupying either 3/4 or 2/3 of the width of the skirt.
So we looked at creating silhouettes in three different ways. Making a bustle is the fastest and most economical. It is more difficult to make a pannier. Crinoline is the most labor-intensive and most expensive option. Which option to use is up to you. In any case, we wish you success and the joy of creativity!
Author of text, drawings, diagrams:
Pannier(from French. panier- “basket”) is a design made of fabric-covered hoops, popular in the 18th century, designed to give a feminine curvaceous. The frame was made of whalebone, willow or thin metal rods. The pannier was fastened to with buttons. The design was light in weight, due to which the skirt swayed when walking, opening it. Pannier appeared in England in the early 1710s. In 1718 in France, Princess de Montagne hid her figure defect thanks to a dress with pannier, after which the fashion for it quickly spread throughout Europe. In Russia, panniers were called fizhma (from German word"fischbein" - "whalebone"). Until the 1730s, round designs were in vogue. In the 1740s, the "pannier with elbows" appeared, making the skirt wide on the sides, but flat in front and back. In the second half of the 18th century, the solid structure was divided into two parts, which were connected by a braid at the waist. Panniers went out of fashion in the 1780s.
There is a version that the pannier appeared in the early 1710s under the influence of the theater: in one of the performances, actresses appeared in wide and incredibly full skirts. At first, as happens with any fashionable novelty, these skirts caused laughter and bewilderment, but then became a favorite style for many years.
The pannier frame helped a woman achieve the “inverted glass” silhouette that was fashionable in the Rococo era. A thin, corseted waist, straight shoulders and a glass-shaped skirt created such an impression. The pannier was fastened with buttons to a rigid corset.
In fact, skirts with hoops appeared earlier - at the end of the 14th century, in Spain. This fashion was picked up by England, where the Spanish princess Catherine of Aragon arrived in 1501 for a wedding. In France, the prototype of the pannier took root a little later.
Over the course of its rather long history (until the 1780s), paniers changed not only their size, but also their shape many times. So, in the years 1720-1730, women wore fluffy round panniers.
At the end of the 1780s, panniers went out of fashion and were replaced focu(French faux-cul) - small pads worn under the back of the skirt (see Bust). The silhouette that the female figure acquired thanks to these pads was dubbed by snide contemporaries cul de Paris- “Parisian ass.” By the end of the 18th and beginning of the 19th centuries full skirts are completely out of fashion, giving way to strict flowing draperies of the Empire style.
The fashion for “antiquity” did not last long, however, and the fashion for a thin waist and widened skirt returned only towards the end of the 1820s. The years 1830-1860 were marked by a revival of interest in Rococo fashion. The culmination of this hobby was the invention of the crinoline, which finally went out of everyday fashion only at the beginning of the 20th century. By that time, the pomp of crinolines had been reduced to a minimum.
Literature
- M. N. Mertsalova. Costume from different times and peoples. T.III-IV. M.-SPb.-2001.
- R. M. Kirsanova. Pannier // Suit in Russian artistic culture 18th - first half of the 20th centuries: Experience of an encyclopedia / ed. T. G. Morozova, V. D. Sinyukova. - M.: Great Russian Encyclopedia, 1995. - P. 198. - 383 pp.: ill. With. - 50,000 copies. -
