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War crinoline, 1916. During World War I, the "war crinoline" became fashionable, between 1915 and 1917. [55] 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.
These were called the "war crinoline" by the fashion press, who promoted the style as "patriotic" and "practical". [10] Styles of "Lucile" (Lucy, Lady Duff-Gordon), as presented in a vaudeville circuit pantomime and sketched by Marguerite Martyn of the St. Louis Post-Dispatch in April 1918
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The crinoline or hooped petticoat had grown to its maximum dimensions by 1860. As huge skirts began to fall from favor, around 1864, the shape of the crinoline began to change. Rather than being dome-shaped, the front and sides began to contract, leaving volume only at the back.
Footmen were something of a luxury as they performed a less essential role than the cook, maid or butler. Once a common position in great houses, the footman became much rarer after World War I as fewer households could afford a large staff. The role of footman is now largely an historic one. [99] Econom: 14: 20: Fuller
Top: Minoan statuette, 1600 BCE.Verdugada, c. 1470s Bottom: Farthingale, c. 1600.Hoop or pannier, 1750–80. Cage crinoline with steel hoops, 1865. LACMA M.2007.211.380. A hoop skirt or hoopskirt is a women's undergarment worn in various periods to hold the skirt extended into a fashionable shape.
Wilson reported for Scripps Newspapers from 1910 to 1916, in Washington D.C. [2] Later, during the First World War he served as a captain with the US Army Chemical Warfare Service and later (1923-1927) as Assistant Secretary of War charged with gathering historical data on the conflict, [2] much of which formed the basis of a series of six co-authored works about mobilization: How America Went ...
The World War I Memorial in Washington, D.C. shows the effects of the passing years. Iconic memorials created after the war are designed as symbols of remembrance and as carefully contrived works of art. In London, the Guards Memorial was designed by the sculptor Gilbert Ledward in 1923–26.