Outfits included crinolines, hooped skirts, bustles, bodices and tightly laced corsets.

女性服装包括衬裙、箍裙、裙撑、女紧身马甲和紧身胸衣。

" What is that for" ? asked the young fellow, passing his hand over the crinoline or the hooks and eyes.

" 这干什么用的？" 小伙子用手摸摸有衬架支撑的女裙或者搭扣，问道。

Identifying a crinoline lady is pretty easy.

辨认出裙撑女士相当简单。

All right, I'm off to talk to the costumer about crinoline.

好的 我得去和服装师谈谈裙子了。

In order to keep the adhesive part from sticking together, he lines them with a crinoline fabric.

为了防止粘合部分粘在一起，他用衬里织物衬里它们。

To achieve such a voluminous skirt, she would likely be wearing at least one petticoat or crinoline.

- 为了获得如宽大的裙子，她可能至一件衬裙或衬裙。

Nevertheless, there were plenty of tragic cases of death by crinoline when sparks from an open fire set skirts alight.

然而，当明火中的火星点燃裙时，因裙撑引发的悲剧性死亡案例不在数。

And factory girls did have to be banned from wearing crinolines to work in case they got caught in machinery.

因，女确实被禁止着裙撑作，以防她们被机器卷入。

Five or six women in silk dresses, looking very coquettish with their frizzy chignons and crinolines drawn back, were moving about and talking.

五六个身丝裙的女人， 往后挽着蓬松的发髻和衬裙， 显得十分风骚， 正在走来走去， 谈天说地。

For me, this context helps explain the popularity of the crinoline lady in the mid-20th century.

对我而言，这一背景有助于解释20世纪中叶裙撑女士形象为何如流行。

The people, specifically the women, who lived in these kinds of houses were the ones who embraced the crinoline lady.

居住在这些房子里的人们，尤其是女性，正是那些拥抱裙撑女士的人群。

Even Clarice Cliff, the biggest name in Art Deco ceramics, used the crinoline lady motif.

就连艺术装饰陶瓷领域最负盛名的克拉丽斯·克里夫，也采用了裙撑女郎这一主题。

The bright young things were shaking off the constraints of their parents' generation, so why did the crinoline lady become popular?

那些朝气蓬勃的年轻人正脱父母一代的束缚，那么为何裙撑女士会重新流行呢？

The peak of the crinoline craze was the late 1850s and early 1860s, after which fashion moved on to a different silhouette.

裙撑风潮的巅峰期是19世纪50年代末至60年代初，后， 时尚潮流转向了另一种轮廓。

And though the stories of women getting stuck in door frames are probably exaggerated, the circumference of crinolines could get up to six yards.

尽管关于女性被门框卡住的故事可能有所夸大，但裙撑的周长确实能达到六码之巨。

And if the coming of the train prompted a railway mania, so satirical magazine Punch ruefully observed that Victorian women had succumbed to crinoline mania.

如果火车的出现引发了铁路狂热，那么讽刺杂志《笨拙》则痛心地指出， 维多利亚时代的女人们也陷入了裙撑的狂热之中。

Would the Victorian ladies who popularised the crinoline have approved?

那些推广裙撑的维多利亚时代女士们会赞同吗？

The most glamorous crinoline lady of them all was Scarlett O'Hara in the 1939 film of Gone with the Wind.

其中最耀眼的裙撑淑女，当属1939年电影《乱世佳人》中的斯嘉丽·奥哈拉。

The same probably applies to interwar women who applied the crinoline lady to everything else.

同样的情况可能也适用于两次世界大战之间的女性，她们将裙撑女士的形象应用到了其他所有事物上。

In the 20s, fashion finally took on a recognisable modernity, and the loose shift dresses that characterised flappers were the complete antithesis of the crinoline.

20年代，时尚终于呈现出一种可辨认的现代感，而以宽松直筒裙为特征的“飞波女” 服装，则完全是对克里诺林裙的彻底颠覆。