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In the 18th century, engageantes took the form of ruffles or flounces of linen, cotton, or lace, tacked to the elbow-length sleeves then fashionable. [1] In the mid-19th century, the term engageante was used for separate false sleeves, usually with fullness gathered tight at the wrist, worn under the open bell-shaped "pagoda" sleeves of day ...
A bell sleeve can be either long or short and is usually set smoothly into the armscye (no pleating or shirring) and flares toward the bottom. Bell sleeves end anywhere from the elbow to the wrist. Flared sleeves ending at the upper bicep are similarly shaped, but are instead called butterfly sleeves. The effect is reminiscent of a bell in its ...
1 ⁄ 4-length sleeve or quarter-length sleeve: A sleeve that extends from the shoulder to midway down the biceps and triceps area. 3 ⁄ 4-length sleeve or three-quarter length sleeve: A sleeve that extends from the shoulder to a length midway between the elbow and the wrist. It was common in the United States in the 1950s and again in the ...
They often featured a notched collar, and elbow-length sleeves with cuffs. More informal versions of the shirtdress, made of cotton, but retaining the full skirt and collar, became a staple part of many women's wardrobes during the 1950s, with designers such as Anne Fogarty becoming known for their versions of this style. [2]
Sleeves were bell- or trumpet-shaped, and caught up at the elbow to show the frilled or lace-trimmed sleeves of the shift beneath. Sleeves became narrower as the period progressed, with a frill at the elbow, and elaborate separate ruffles called engageantes were tacked to the shift sleeves, in a fashion that would persist into the 1770s.
They were easy to remove, launder and restitch into position, so to act as false sleeves, which was tacked to the elbow-length sleeves during the time. They commonly appear under the bell-shaped sleeves of day dresses. Silhouette: Silhouette changed over time supported by the evolution of the undergarment. In earlier days, wide skirts were ...
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