22 November 2015

Talking about Georgian Women on a Saturday in Worthing.


To Worthing Museum on Saturday for

Depictions of Fashionable Georgian Women in Contemporary Film

The talk was delivered by Suzanne Rowland in her usual engaging manner.
SR has the knack of relaying facts and pointing out things that make you glad to know what she has told you, but you never feel lectured at. The scene was set for an exploration of whether costume authenticity mattered in film or not.  The period under discussion was 1714 to 1830. This includes (as any costume loving fule kno) the Regency period. The contrast between Georgian gowns...the elaborate wigs, huge embellished hats and big skirts and the Regency style of diaphanous high waisted straight gowns and neat bonnets soon became apparent. A Hogarth print from 1751 gave a contemporary look at what the films don’t tend to show as much as the pretty clean people…the wretched rough classes, all gin bottles and rags. But it wasn’t all lovely at the top either. A Hogarth painting of c1743 reflects the bartering of well bred scion of a noble house to a rich but a bit further down the social ladder girl. The fathers are doing all the talking and the two young (and beautifully dressed) progeny sit waiting while their fate was decided. Of course that sort of thing would never happen nowadays, would it?
How you were dressed said as much about you and mattered as much in Georgian times as it does now. The popular Vauxhall pleasure gardens admitted any one who was well dressed enough and allegedly any one who was suitably dressed might have admission to the Kings Drawing Room.
Keira Knightley playing on screen in The Duchess was the perfect illustration of what was worn in Georgian full fig. Elaborate and abundant being a description of her costume. We also learnt the significance of details in one of her outfits. Her costume worn to hear politician Charles James Fox speak at a public meeting had fox tails adorning her hat, and a fox muff for her hands. We heard how meticulous the preparations were to recreate such sumptuousness for the film. Authentic making techniques…no zips allowed for instance. Intricate items like sleeve flounces had the stitches counted to ensure that any copies of gowns matched the original 100%.
To assist in making a ‘look’ authentic, recourse to the popular literature and beauty tips of the period is still possible. Georgian women could read Ackerman’s Repository, which came complete with fabric samples and this publication can now be seen in digitised form. Makeup tips were available  from  books like the 1779 Toilet Of Flora: Or A Collection Of The Most Simple And Approved Methods Of Preparing Baths, Essences, Pomatums, Powders, Perfumes, etc. You can buy this in facsimile form from a well known online retailer. But beware the beauty products… toxic ingredients were not unknown then. Let us not forget Georgian Big Hair. Georgian wigs could be huge, padded with horsehair, thick with powder to disguise the dirt and so tall that sedan chairs had high roofs and low seats to accommodate them.
SR recommended having a look at the 1940 film version of Pride and Prejudice to get a real flavour of the Georgian women + costume+ contemporary film equation. I did and realised that no wonder the clothes looked Victorian in this version. Good old Hollywood had decided authentic period clothes ‘too plain’, so redressed the story in costumes left over from Gone With The Wind, adding new gowns for the principles in the same style where necessary.
It is always a delight that so many thoughts and tangents and new snippets of knowledge can come out of a talk. And I haven’t even mentioned the wonderful examples of Georgian clothing that were laid out for us to see…more proof that Worthing Museum has an enviable collection indeed.

Thanks to SR for a most enjoyable morning.


2 October 2015

Bien sûr. It is a suit, not a fish.


La Révolution du New Look


Christian Dior Museum
Granville France



12th February 1947. Avenue Montaigne, Paris.
A Spring/Summer show by a new French designer.

Life Magazine reported ‘New French designer is surprise success at first showing’.
Carmel Snow, editor of Harper’s Bazaar, wrote to Monsieur Dior; ‘Your dresses have such a new look!’
This show made it impossible for American buyers to ignore the Paris shows.
US Vogue, April 1947, remarked that the construction and cut of the New Look was a great boon to those who were not entirely happy with what nature had handed out to them.






Bar was one of seven afternoon suits shown that day. It was named after the bar in the Hôtel Plaza Athénee and reflected Diors wish to embrace the post war era, whilst combining a look back at turn of the century Paris and its fashions. The suit sold in 1947 for equivalent of £2400, compared to £6500 for a HC suit now (my figures, given for comparison purposes only). Pierre Cardin was a young member of the work room in 1947. He was sent by Dior to buy sheets of cotton wool used as padding in the construction of the jackets. Allegedly Dior took a hammer to a mannequin form to sculpt it into the shape he desired. Subsequently Stockman, the manufacturers, created mannequins for him to his specific requirements. Miss Dior perfume was launched in 1947 and gave its  fragrance to the salons, its amphora shaped bottle as curvy as the New Look.

This exhibition is beautifully staged and contains the usual breathtaking collection of Dior garments. I especially liked the wonderfully evocative tableau of that day in Avenue Montaigne. Clothes from contemporary designers were used to dress mannequins to provide an ‘audience’ at the NL show. All were perfectly accessorised with hats, bags, shoes and jewels to give a black and white snapshot of the salon on the day that Bar had its first walk. A photograph shows preparations for the S/S 1947 show. A seamstress kneels in front of a model wearing ‘Soiree’ making final adjustments, while a seated Dior and entourage watch. Step ladders and a vacuum cleaner lie about and the chairs are in disarray. Next day during the show the room is packed. Photos show the audience sitting on chairs, standing in corners, looking over people’s shoulders. There is a huge flower arrangement on the mantelpiece. More than one notebook is open and poised. No catwalk, the models walked round amongst the chairs. Largely women with a few men. Most ladies wore small veiled hats, gloves and furs and pearls and skirts just on the knee. Exactly what would become the Old Look by the end of the show. How lucky we are to be able to see photographs of it all. The pictures were taken by Pat English, a photographer from Life magazine.  She had been a model before she became a photographer..this surely helped her in her work that day. 

Two painted silhouettes on the glass of one case compared the differences between OL and NL. vis;





Old Look; medium size hat. Discrete bust line.
Broad shoulders. Skirt narrow and short, 40 cm from the ground.
Platform shoes.

New Look;  large hats worn towards the front of the head.
Natural shoulders, moulded bust.
Wasp waist. Rounded hips. Very full skirt, hem 30/36 cm off ground.
High heeled shoes.











Hollywood was represented by actress Rita Hayworth. Dior had shown ‘Soirée’ at the S/S 1947 show. An evening dress from the Corolle line, navy taffeta with black point d’esprit tulle. Miss Hayworth had one in beige with white spots, which she wore to a ‘Gilda ‘gala. (Gilda was a film noir from 1946 that starred RH). She bought twelve Dior outfits at this time and there was an example on display of a suit she had purchased. Black with a hip length belted jacket with pom pom details on hem, jacket edge and cuffs. Original magazines open in the case showed how the world at the time had seen her in the clothes.

The Museum presents the whole story of Dior clothes.  Not just finished articles, but toiles showing how a jacket is constructed. An interactive display showed  pieces of a pattern that were presented like a jigsaw assembling itself and the finished coat is there beside you to see in all its glory.
The information at the museum gives us glimpses into Dior the man. In the 30’s and 40’s he had worked as a theatrical and cinema designer. He enjoyed using historical references…. the wasp waist of Belle Époque; and dance imagery; the fullness of fabric allowing skirts to swirl... just as a ballet costume would.

A tiny case in a corner held two dolls. One in a grey blue silk cocktail frock and the other in a coatdress of sand coloured georgette crêpe. Both dolls have designer labels in their dresses as they are couture garments made by the House. These Mademoiselles are Christmas presents given in 1949 by Dior to the daughters of a friend.

As I left, not having read about the Plaza Athénee reference at that point,  I asked a member of staff… Why Bar? Why was it named that?
She told me that ‘Bar’ is an outfit to wear to go out socially, for example to visit a bar.
Then she added that some French speakers think the name has something to do with fish….bar is the French for bass.
And in understanding that sentence, I realised that doing my French homework had been worth it after all…

Museum and Garden Christian Dior
Villa les Rhumbs
1 Rue d’Estouteville.
50400 Granville
France

www. Musee-dior-granville.com
musee@museechristiandior.fr

With my very grateful thanks to Musée Christian Dior for permission to use these photographs.



2 September 2015

2 Feet. 2 Shoes. 2 Levels of comfort.

Slipper of Shame & Fab Flip Flops.  

Today I did something that I thought that I would never do. In need of slippers and flip flops, I went into a shoe shop. So far so good. Need shoes go to shoe shop. It was there that I found myself spiralling down into a vortex. A place so dark and ancient that I had not thought was open to me for eons to come.Before the full horror of my slipper shame is revealed, I can speak with a glad heart and clear conscience of the ffff. 
The Fab Flip Flops in Fire Engine Red. Sleek. Smart.Sassy.
Easy to try on and easy to walk in. Will the strap rub between my big toe and the next to big toe? Will grit get in between my foot and the shiney base? Will they catch on loose mats and make me stumble? Of course they will. But they look FAB.
And now my confession. 
A confession to  something that I thought only other people did.  To something so far from my conscious mind that I had never given it creedence. The begining of a slope so slippery that it can only end in cardigans and taking your coat off inside to feel the benefit when you go outside. OK. Here it is.
I chose a pair of slippers because they were comfortable.
Yes. I know it is shocking. They were pink (still are) and grey and lined in pink, grey and blue check cotton. There is a heart shaped patch of this cotton on the toe trimmed in pink. There is a flower embroidered on the heart and beneath it a slogan in italics....'sheer girl'. The final touch is a pink velvet bow, placed jauntily on the heart. NONE of these appeal to me. I HATE pink. Hearts and meaningless slogans should stay where they belong ...on a Valentines card. But they are soooo snuggley and cosy and fluffy and yes, comfortable and nothing rubs and they are soft.
So here I am in that spiral,that vortex of buying something because it is comfortable and not because it looks good. 
What's next?  A vest? 
Please do not judge me too harshly. It will happen to you one day....

12 August 2015

Mostly Cream with Coffee. Plus Pink and White.




Something Old Something New
Wedding Dresses from 1850-1980

Bexhill Museum
Until 6th December 2015


OLD AND NEW
Lots of cream satin and pearls. A coffee coloured silk chiffon and lace dress and jacket. A pink lace dress and jacket and of course some white lace.
There was so much to see and enjoy at this wedding dress exhibition. All the dresses were of exceptional quality and there were a great deal of accessories and extras to see…shoes, wedding favours and headdresses to mention but a few. The Star shaped case layout was excellent. You could see all the way round the dress. So much better than just the front. And there was a Catwalk display too. It was marvellous to see the clothes out in the air as it were. You could get up close and have a peer with out glass getting in the way. I have rarely seen such a collection of high quality, beautifully conserved garments as I did in Bexhill. All the examples on display were exquisite and some were more exquisite than others. (apologies to G. Orwell)
Rather than try to describe the feast for the eyes that all these dresses presented when you walked into this large, calm room…here are a few tidbits to tempt you to go to see it for yourself.

A ‘Second Day Wedding Cap.’ 1842  
CAP 1842
Silk and lace and pearls. Worn by the bride the day after the wedding.
I have to confess that this is a new idea to me. I hope readers can enlighten me as to some history of second day caps?


Waterfall. Tumbling. Two words that describe this fabric made ‘false’ bouquet from the early 19th century. (See Old and New photo above)

1857 FRINGE




Victorian fringes and an attached overskirt.             And not shown, but held by Bexhill, are the many love letters from the groom to his be fringed bride.
All together now. Ahhhh.
                                                
Veil

An Edwardian Veil in embroidered lace
From Bourne and Hollingsworth in London. A long time later it came back to the shop to be looked after. The shop closed in 1970 and as the veil was unclaimed, it was given as a memento to a staff member. 
1932 Rear View



This bride of 1932 has left us her silk crêpe de chine, cut on the bias dress with its draped neckline and long train. She also left long locks of auburn hair, which the museum has in store. Whether she sported said hair at the wedding is not recorded.






Proving chic is timeless, a pink lace 1940s suit that was worn by a 1997 bride can be seen in the photograph of the catwalk.



1960s Classic  



1960s Wedding Dress.
A classic. It’s all there. Full length. 
Nottingham lace. Under wired petticoat.

Catwalk
















The most recent dress (2007) was startling in style...Goth ...as well as colour. It was green and purple. (Although green and magenta were popular bridal colours in the 1860s)
The bolero jacket was worn over a ruched and beaded bodice, with some dramatic rear lacing to the bodice and a bustle and a train. A bridesmaids dress was a less elaborate purple version of the brides dress.The more I studied these, the more I liked them. The detail and the drama of these dresses was superb.

There are top class information sheets for the wedding dresses which are portable…greatly appreciated.

Don’t miss the fascinating social and dress history on permanent display in the room.

Thanks to Bexhill Museum for permission to use these photos.
Special thanks to Karen for her help.
Hello to the friendly volunteer staff I met.

 And finally. Can someone please tell me what Petal Dust was used for? A bridal ensemble from 1921 included a packet of this. The notes describe it as an accessory. Was it scattered like confetti? Used as rouge? Dusted over cocktails? ? ? ?

 

6 August 2015

Definately a voice for radio


CLICK AND GO.....



Click on this

http://www.bbc.co.uk/programmes/p02x1683

And go to 2 hrs 40mins 

You will be rewarded with my interview on Radio Sussex on 5th August 2015

I am talking to the lovely Allison Ferns

You will find out all you ever wanted to know about

How fabulous I am
How extremely good I am on the radio
How mellifluous is my voice
How I bet you wish you had that husky chuckle
Volunteering at a museum.

I am lucky enough to be responsible for the costume collection at my local museum...so listen up and see what you might go on to do.....

26 July 2015

Benvenuto a Topogigio


Pizza, Pasta and Puddings

Few things in life are black and white but a lovely exception to this is Topogigio in Hove. 
The restaurant is a chic monochrome space with white walls and black details. The tables are black and the chairs are barley sugar twists of clear acrylic with black cushions. The ceiling boasts a spectacular white chandelier…  E 'tutto molto molto elegante …lovely to look at and a delicious place to eat.
No amount of decor will detract from a restaurant with disappointing food but here you get the whole package. Tasty food. Good service. Stylish surroundings. Did I mention the wonderful food?
Have a look at http://www.topogigiohove.com/  if you want to have your taste buds tickled …you really need to see the photos. Words are definitely not enough for this menu.
So apart from the pleasing interior, the out of this world pizzas, and puddings that you will not want to share with anyone (try the pistachio ice cream), what has else Topogiogio got to offer?
Well the staff has that wonderful knack of making you feel welcome and they look as if they are pleased to see you. The service is friendly, knowledgeable and professional.
The Topogigio logo is memorable and very clever. Apart from learning that topo means mouse in Italian, I discovered that Signor Topogigio was a TV star in Italy in the fifties and sixties. I am sure that I remember ‘him’ on British TV in the sixties? Anybody else???
In a nod to the late lamented (only not quite so much now as Topogigio has opened) Topolino Duo, some pictures on the walls had a very familiar look.
As well as the very moreish cassata I had for pud, I loved the glass coffee cups and saucers…think coffee bars. Vespas. Fellini films. Audrey Hepburn in Roman Holiday. Someone really thought about setting this place up. Every detail is just right.
Do go. E’ eccellente.

Topogigio
6 Church Road
Hove BN3 2FL

01273 926266

22 July 2015

Cars. Trains. Buses. And Sticks.



A man to make your car better
A lady dressed to complement her vintage car
      A bus driver with a white summer cover on his peaked cap
A train driver with a cap and braces
   And two gentlemen stick makers with aprons

An eclectic bunch all doing what they were doing on a sunny Sunday and all enjoying every minute.

Where was I?

Amberley Museum and Heritage Centre in West Sussex.

Going into the Amberley site is like going into a secret kingdom. Once you are inside it is a microcosm of times past. And when there is a special event in full swing it teems with people and noise and colour and movement.

Last Sunday was such a day. I wandered round, deciding what to look at first.

I stopped under a tree and there was an AA box. Now readers of a certain age will know immediately of which I speak, but for all you minors out there, AA boxes were a common sight at the side of the road in olden times. They are a sentry type box that were used originally as a shelter for the AA man in bad weather and later on all members had a key to open the box and use the telephone inside to summon help. Yes. Even I would admit….. it does sound fairly olden.

This particular box at Amberley, no 44, had a special extra feature. An AA man.
AA Patrol Man c1967
So smartly turned out in his green uniform and cap. There was more than a hint of the military in the cut of the jacket and trousers. Patch pockets, epalettes, contrasting colour for the collar, AA crest on the buttons…smart, authoritative and capable. I dare say that keeping it clean (the responsibility of the individual) was a lifetimes work, but I was assured by the gentleman on ‘duty’ that keeping yourself presentable was second nature. In the summer months they were permitted to take off their jackets, but standards were maintained by keeping ties on. A white cover for their caps added a summery feel. As England in 1967 had just as much rain as today, I was relieved to hear that oilskins were standard issue, not forgetting a waterproof cap cover.




The special attraction on this day at Amberley was classic cars. Row upon row of highly polished beautifully kept cars took up every corner. Sports cars, powerful cars, unusual cars, family cars. All immaculate. The hours of work required to keep a vehicle looking this good is a test of the true enthusiast. I’ve tried putting a car into concourse condition. But I discovered that giving it a quick flick with a chamois and polishing the brightwork just won’t cut it. One car and lady combo stood out for me. Not only was the car perfectly turned out, but the lady owner had gone the extra mile and dressed to complement the car. For the technically minded the car was a 1961 1172cc Ford Popular Deluxe Saloon. 
Classic car and Elegant lady.




For the sartorially minded the charming lady was dressed in wide legged dark blue trousers, black top with Peter Pan style lace collar, short black and white striped jacket, all set off with a black and white scarf. Finishing touches were 2 tone shoes, plus the flower in her period perfect hairstyle matching the flowers on her fab bag. It all went together beautifully. She told me that she didn’t just wear and drive vintage, but danced it too. Lindy Hop was the one and apparently it went down well with the real vintage people, when she demonstrated it at retirement and residential homes.






                                                                                                                                              
I caught the single decker Southdown bus (the site is 36 acres) to explore another part of the museum. As soon as I saw the driver I was reminded of past summer holidays when you knew it was definitely summer because the bus drivers had their white hats (and coats) on. He wore a white shirt and green Southdown tie and his cap had a splendid Southdown metal badge on the front. 
Summer hat for a summer day
How long is it since a bus driver said ‘Hold tight please’ as he (or she) drove off?  How 
long is it since bus seats were covered in such smart fabric or had ashtrays and silver grip rails along the top of the seats? Mind you. Either buses have got higher steps or my legs are shorter, but getting on wasn’t so much of a hop as a haul…






A gentle chuff on a steam train took me back down the museum road. The train driver wore the sort of everyday clothes that workers did in days gone by. In the time before uniforms ruled the roost many people wore the same clothes for work as out of it. Slightly scruffier maybe, but a driver would wear ordinary trousers, shirt and braces. Completed by a flat cap to keep the soot and rain off and a rag or scarf round your neck to absorb the sweat and wipe it out of your eyes. Hot work steam trains.
The engine is from 1917. No word on the driver.
                     
The train arriving....

                                                                                                                   I am too young (quiet at the back) to really remember steam and I certainly have never traveled in a carriage with no windows or doors. (No it wasn’t difficult to get in and no it wasn’t dark. Think about it) 

You had a bird’s eye view of most of the site as you chugged along through a green and leafy way.My fellow passengers were loving it too. Young and old. Thomas has a lot to answer for…but today’s 5 year old is tomorrow's volunteer for the railway. At least they will never have to grow out of getting dirty.
Oh to be in England










Stick men are not confined to paintings from the north of England. I had a peep into the stick makers building at Amberley and watched the interest on the faces of the other people as the two guys behind the counter worked and fashioned the wood at their bench.
They were clearly highly skilled, as there were many examples of their craft on display. My favourite had to be the stick with a birds head handle…a duck I think. So much choice; heights, colours, materials, not to mention what the handle looked like.
Their working gear can’t have changed much over the years. A stout apron to protect the clothes, with a big front pocket. Whether this was to keep spare tools in or just make sure you ended the day with a pocket full of shavings I don’t know.

The Stick Makers

A trip to Amberley looks different to people depending on how old they are.

If you are young, it’s all new and fascinating and (in some cases) wonderfully dirty and whistly.
If you are not so young, you look around and think......

When did I last see an AA box? The patrol men used to salute my father as he had an AA badge on the car. Now the gestures you get from other road users might not be so respectful.
When did cars last have metal sun visors on the outside of the windscreen? (As seen on the Ford Pop that my stylish lady had brought along).
When did trains and buses stop looking as good as the ones I saw today and get so ordinary?
And when did I last see something being made that had no moving parts, no batteries and definitely no WiFi?


Whatever you like looking at, try Amberley. There’s a lot of looking to do there. www.amberleymuseum.co.uk

13 July 2015

BBC Radio Sussex is FAB


LOCAL RADIO IS WONDERFUL.

There I've said it.

And not just because I was at BBC Radio Sussex today.


For the second time I had the pleasure of being interviewed by Allison Ferns. Allison is one of those friendly, buzzy people who greet you as if you are the one person that they have been waiting to talk to all day. 
You get to sit in a studio. You get to put on a head set (earphones and mike). Knobs still are twiddled and sliding switches are slid. And then you are ON.
Well ON with a small o as it was being recorded...last time it was live and that really was scary.

Allison asked me a range of questions about volunteering for Henfield Museum. I described what I'd done so far. What the museum had on show and how much fun it all was. I was pleased to be able to mention BN5, the great local magazine that I contribute to occasionally and to recount some of the back stories of clothes in my latest exhibition.

I really had no idea how long I'd been in the hot seat. The time passed so pleasantly. So well done Allison and well done Radio Sussex.  

They help people like me publicize places like my local museum..win win really.. I had a great time...what a way to spend part of a wet Monday morning...and here’s hoping Henfield Museum ....BN5 9DB... enjoys more visitors whatever the day of the week.

5 July 2015

Dress Label Mystery




C H E Q U I T A


NOT   C H I Q U I T A


A DRESS LABEL, NOT A LITTLE GIRL



I do hope that one of my loyal readers..wake up there at the back...can give me some information about this dress make. I have found one example on an excellent site 

but so far no other mentions.
In common with my last post Desperately Seeking Seamstresses, there must be someone out there who knows something about those dressmaking ladies and this dress company.
So hurry up. The quicker you mail me, the less research I have to do ......







2 July 2015

So Ladies when did you sew?

Desperately Seeking Seamstresses

Can anyone help me with information on the following dressmakers/seamstresses?


Madame Juliette STATES

Madame Fanny PHILLIPE 

Madame Thirza HARTE


Juliette States is described as  'Dressmaker and Milliner'

Fanny Phillipe's real name was Frances Pierron, married to Paul.

I know that at different times they worked from these premises;

12 Princess Street,
Hanover Square,
London 


Circa 1850s for Mme States and c1880s for Mme Phillipe..of Mme Harte I can find no trace.

This is a costume based quest......I know that there will be costume mavens out there who will scoff at my ignorance and then mail me....lets hope so anyway....


16 June 2015

The Honeymoon is over.


Previously on Letterstoadress....

  'Changing the Century and the season

   The new costume exhibit at Henfield Museum

   A work in progress'

Welcome to 

'The Honeymoon is over'... Job done. 

As we were in the 19th century


Regular readers will know that I have been 

working on an exhibit at Henfield Museum 

that will move their costume display on 

from the nineteenth to the twentieth 

century.


After another session of moving things slightly to one side and then taking them all out and rearranging them completely, I pronounce the new exhibit is ready.

Hello 20th century.
Both the dresses used are special.
Both are beautiful to look at and deserve their place in the museum on those grounds alone.
But these two wedding gowns are so much more than anonymous frocks. For I have the pleasure of much provenance, the facts and names that help give substance to these dresses once worn displayed in a case.

Back view
 The earliest dress is from 1902. Edwardian, white, with a high lace collar and lavish embroidery on the bodice sleeves and skirt. The under sleeves with their pin tucked detail are attached to the cotton underdress. The dress is in good condition, having been stored by the family of its original owner Jane Elizabeth Farmer. Jane came from humble stock.We have a photograph of the stern and work tempered pair who were Jane’s parents. Her father, with the family name of Farmer, worked on a farm.
Sadly Miss Farmer does not hold an esteemed position in family lore, as her conduct in later life did not fit well with the fairy tale part of her life where the wedding dress comes into the story. The posed studio photograph we have of Jane and her young children gives no clues as to the hard future that would be their fate.
                                                             
Miss Farmer had managed the not inconsiderable feat of marrying out of service into a family of professionals. Her husband’s family were in the shoe business, but William Seamark had forsaken shoes for a life in the army. The young couple were stationed in India and their family of four girls and a boy came along. Sadly this is when it all deviates from the happy ever after scenario. William died of cholera, his only son being born posthumously. Jane and the children came back to England, where she hoped to be helped by William’s family. They disowned her. Failing to manage on a small army pension she turned to varied strategies for survival. Unfortunately gambling and forcing her daughters into prostitution figured largely in her plans. Two daughters did go on the streets, one went into a sweatshop and the other displeased her mother to the point of being beaten with a poker and running away. Her son perhaps understandably, went to Australia. Throughout all this, Jane kept her dress. It is not full of repairs, or stained or indeed altered, suggesting it was cherished and not often worn. 
The exhibition is lucky enough to have a dressing table set that belonged to Jane. Monogrammed with JES, her married initials, the items are well used. The only damage is to the scissors, which have clearly been repaired in the past and have broken again. I like to think of the dress and the vanity set wrapped up in a piece of Indian fabric and stored in a sandalwood chest as a link to her happier life. The reality was probably rather different. I expect that both were pawned regularly. But at least they were redeemed finally to be put away and kept.


The wedding dress from 1932 could not be more different.
The lady who wore this, Nina Christian de Symons Barrow, was from a wealthy family and married someone of similar social status, Ronald de Crespigny Eastwood. Both the bride and groom had middle names to conjure with. I have wedding reports from the newspapers of the time, showing that their guests were similarly double barrelled. One of the reports contains a list of who gave what as a wedding present. There was more than one ‘early morning tea set’ on the list and a goodly collection of silver, cut glass and antique furniture. The bride received an opal necklace, signet ring and travelling clock from her bridegroom and reciprocated with a gold watch and a book of poems. Included in the archive is a copy of the wedding invitation and order of service, plus photos taken by guests outside the church.



And not forgetting the star of the show. 
Her dress and lace cap. 
The dress is a thing of beauty. Cream chiffon and Brussels lace with a silk underslip. It epitomises the 1930s style and incorporates a family memento …all the lace used is from her mothers 1898 wedding dress. The wedding  photos show a billowing veil and the newspaper talks of a train being carried…all that remains is the lace mob cap worn under the veil. Whilst I was working on the case last week more than one visitor to the museum remarked on how lovely this cap was. It is both whimsical and winsome. 

Mystery cipher

 I did however have a final piece of bridal finery to display. 

Well two actually.  Nina’s silk wedding stockings. 
These have a floral design woven in them at the ankle and a cipher at the top, which I do hope someone can throw some light on… I imagine these stockings were put away after the big day. They are not worn thin or repaired at all.

There is a lovely photograph (visible in photo on right) of Nina and Ronald, whether as Miss and Mr or Mr and Mrs I do not know. They are sitting relaxed in a garden, Ronald holding a small dog and both smiling straight into the camera. I know that they went on to have two children and I hope a happy life together.


Hankies and silk stockings





To grace and compliment my display I used a collection of finely worked and exquisitely embroidered handkerchiefs from the bride’s family that I found  in the box with the dress. 

They are monogrammed as;

MHB for Margaret Henderson Barrow, Nina's mother.

JCY for Julia C Young, her grandmother.




As always when preparing an exhibit, it was just a matter of opening the case doors and flinging it all in, scribbling a few captions and Bob's your uncle…..

Well apart from.... easing the fragile dresses onto mannequins that had detachable arms but bumps in the wrong place and in the case of the 1902 frock too wide in the torso to do the dress up all the way. Making sure that the one mannequin with a head was used to fit the 1932 dress so that the cap had a home. Fitting everything into a case that was long and thin, so what went where was dictated to a certain extent by the space left after the mannequins took their positions. Ensuring that the RHS damage to the 1932 dress was minimally visible by placing 'her' right hand side directly behind a case strut. Arranging gossamer thin lace edged hankies so they showed their beauty, but did not slide off the soft material  I used to cover the small plinth that was one third of my ‘case furniture’.  The other two thirds were wooden triangles with flat sides. Having contemporary photographs meant getting them printed large enough to see and captioning them in eighteen point. Remembering to use the house font. Tackling the usual challenge of giving museum goers enough information to be informative without wandering into overwhelming detail. Equally I had so much background it was a challenge to know what to use and what to leave out. I prefer a narrative approach to information and I hope visitors will enjoy the glimpse into these ladies lives I have written for them. Finally four photograph frames and one wooden knife block later (all from my personal collection of things that will come in useful one day) I shut the glass doors for the last time.

Sometimes knowing the real life behind a museum exhibit is sobering.
Yet what a link to have to these women; knowing what they looked like.
It is a cliché, but stories, photographs, personal articles..they will all help bring the past…. if not to life.. then into sharper relief.

Two weddings and a museum.
Two past lives displayed.

My life enriched.


PS.Jan 2017. I now believe that the Mob cap was not worn on the day, but was either a boudoir or second day cap. The cipher on the stockings is MHB, the initials of the brides mother. Maybe her something borrowed?

Henfield Museum website.