DRESS COLLECTIONS IN MUSEUMS AND OTHER

INSTITUTIONS IN THE SOUTH, SOUTH EAST AND SOUTH WEST

OF ENGLAND. LISTING - SECOND EDITION 2018

c/o School of Humanities, University of Brighton, UK (Image: A May Day Garland wood engraving by David Jones, c1925, St Dominic's)

Press. Reproduced with kind permission of Ditchling Museum)

DRESS COLLECTIONS IN MUSEUMS AND OTHER INSTITUTIONS IN THE SOUTH,

SOUTH EAST AND SOUTH WEST OF ENGLAND. LISTING -2nd EDITION: 2018 Contents 1 Bexhill-on-Sea Museum 2 Brighton Museum 3 Charleston House 4 Chertsey Museum 5 Ditchling Museum of Art and Craft 6 Dover Museum 7 Hampshire Cultural Trust Costume Collection 8 Haslemere Museum 9 Henfield Museum 10 Hastings Museum and Art Gallery 11 Honiton 12 Horsham Museum 13 Kent Costume Trust 14 Killerton House and the Royal Albert Memorial Museum, Exeter 15 Lewes Little Theatre London: 16 Brent Museums and Archives 17 Bruce Castle Museum 18 The Fan Museum 19 Museum of Richmond 20 Royal School of Needlework 21 Vestry House Museum 22 V&A Museum of Childhood 23 Warner Textile Archive 24 William Morris Gallery 25 Maidstone Museum and Bentlif Art Gallery 26 Petersfield Museum and the Flora Twort Gallery 27 Powell-Cotton Museum 28 Salisbury Museum 29 Smallhythe Place, National Trust 30 Southend Museum 31 St. Alban's Museum 32 Steyning Museum 33 Sussex Past 34 Totnes - Museum of Costume, Fashions and Textiles: The Devonshire Collection of Period Costume, 35 Tunbridge Wells Museum 36 Worthing Museum and Art Gallery University-based Collections 37 University of Brighton Dress History Teaching Collection 38 Middlesex University - Museum of Domestic Design ad Architecture.

Dress Collections in Museums and Other Institutions in the South, South East and South West of England. Listing Edition 2. 2018:

Introduction. This project has been achieved through the generous help of Jade Bailey-Dowling, Eve Flitman,

Lucy Jane Ellis, Victoria Haddock, Paulina Kulacz and Annika Lennox, students from the MA in the History of Design and Material Culture at the University of Brighton. We thank them for

their committed work.

We also thank all curators and managers whose collections are introduced here and Dr. Paddy Maguire, Head of the School of Humanities for his continuous support. The original 2011 catalogue listing and its related website were compiled by Lou Taylor (now Prof. Emerita in Dress History) and Dr. Charlotte Nicklas, (Senior Lecturer at the University of Brighton) for the UK Costume Society's Annual Symposium, to publicise the wealth of museum collections in the South, SE and SW of England. This second edition has been put together for presentation at the conference 'Fashion and clothing collection, exhibition and research in small and medium sized museums in Europe' organised by the Research Interest Group 'Apparences, Corps et Sociétés at the Museum of Alsace, Strasbourg, 17-19 May 2018. Dress history staff at the University of Brighton are actively involved in this research group. All these collections, based in small and middle sized museums rather than national collections, contain precious dress and textile objects of local, regional and national significances vital to fresh innovative dress history research. We knew that this listing would provide our own students from BA to PhD level with rich, though often underused, research resources and indeed over the last seven years this has proved to be a truth. Please be aware that objects of dress illustrated here will not always be on public view. Appointments to access these collections must be made in advance. We stress that all images are copyrighted to the museums which own these artefacts and that requests for reproduction permission rights must be made directly to curators or museum managers. For any additions: please contact Lou Taylor, [E.P.Taylor] or Charlotte Nicklas [C.Nicklas@brighton.ac.uk] Our web site: http://arts.brighton.ac.uk/re/design-art-history/teaching-collection Cover Image: A May Day Garland, engraving, David Jones c. 1925, St Dominic's Press. Reproduced with kind permission of Ditchling Museum)

BEXHILL MUSEUM Egerton Road, Bexhill-on-Sea, East Sussex TN39 3HL

Tel: 01424 222058! www.bexhillmuseum.co.uk !Public opening hours: Tuesday – Friday: 10 AM – 5 PM; Saturday, Sunday, Monday, BankHolidays: 11 AM – 5 PM. Winter hours subject to revision.

Contact: Curator- Julian Porter (julian.porter@rother.gov.uk)

The costume collection and museum was founded by Christine Porch and Isobel Overton and originated from the Thalia Theatrical School of Drama in approximately 1972. The Costume Museum was located in Manor Gardens and housed in what was the old stable block. The collection was merged with that of Bexhill Museum. It is now housed in the brand new wing of the museum, opened by Eddie Izzard after a £2 million refurbishment in July 2009, which funded the creation of our new social and dress history gallery as well as workshop and rolling storage space. The new gallery includes temporary, uncased exhibition space, where contemporary dress is frequently displayed. An education room is also available and used for different events ranging from Adult Education, W.I. and handling sessions of lace and costume for students, specialists and school children.

The costume collection contains 1000s of garments and accessories, including a late 18th century elaborately embroidered gentleman’s coat, a rare mourning calash, boned corsets, Romantic period, Victorian, Edwardian and inter-war dress. There is also a large accessories collection: boots, shoes, parasols, fans, lace, shawls, and hats. One treasure is a mourning dress worn by Queen Victoria, in 1892 after the death of her grandson, Prince Albert, the Duke of Clarence, Dress worn by The Right Honourable Winston Churchill when he was aged four and a home-made League of Health and Beauty’ uniform from the mid 1930s.

Detail, girl's linen and ruched silk embroidered tunic, Arts and Crafts movement – about 1900. Detail of 'crazy' quilt, about 1880-90. Child's dungarees, 'Cloth Kits', Lewes about 1970.

BRIGHTON MUSEUM AND ART GALLERY Royal Pavilion Gardens, Brighton, East Sussex BN1 1EE www.brighton-hove-museums.org.uk Tuesday-Sunday, Bank Holidays 10am-5pm Contact Martin Pel, Costume Curator (Martin.Pel@brighton-hove.gov.uk) Brighton Museum’s costume collection covers 400 years dress and is of local, national and international significance. It has been built up since the late 1960s and now features over 12,000 items of men, women, children’s dress and accessories. Around eighty percent of the collection is both twentieth century and women’s wear. Included is a strong collection of 1950s’ British couture which can be attributed to some 60 dressmakers, designers and tailors. There are also garments by around 25 international designers based in Paris, New York and Italy (Milan and Rome). The Messel Family Dress Collection (on permanent loan) is outstanding within international contexts. It has local history interest (the family lived at Nyman’s) and has an exceptional and rare group of clothes by London’s court dressmakers (19th/early 20th centuries) and top-level couture fashion dating from the early 1920s onwards. Exceptional are the unique and collection models made for Anne Messel by Charles James. Unconventional dress is an area of distinction and includes ‘artistic’ dress. Part of this is the Renegade collection, which tells the story of post-war subcultural women and, more importantly, men’s dress (punk, skinhead, mods, casuals) and is probably the only collection of its kind in UK museums. The collection also holds examples of royal dress including outfits from the coronation of King George IV (1821). The museum has staged fashion exhibitions since the opening of its first permanent fashion gallery and has included, Mariano Fortuny (1978), Fashion and Fancy Dress (2005), Little Black Dress (2007), Land Girls; Cinderellas of the Soil (2008) and Dress for Excess (2012; held in the Royal Pavilion). As a consequence of fashion exhibitions the museum holds some unique collections of dress. Fashion Cities Africa (2016/17) was curated by the World Art and the Fashion departments and displayed examples contemporary fashionable dress from the African cities Casablanca, Lagos, Nairobi and Johannesburg some of which are now held in the permanent collections. (The World Art department also holds examples of dress, textiles and masks from the Shan States of Burma, Papua New Guinea and African cloths from the late 19th century Sierra Leone.) Gluck; Art & Identity (2017/18) was based on a collection of clothing donated in 1977 by the radical LGBTQ artist Gluck and the museum is now actively collecting outfits from Sussex LGBTQ communities in a project called Queer Looks (in partnership with the London of College of Fashion’s Centre for Fashion Curation). This will tell stories of LGBTQ lives since the 1950s with these outfits, together with oral histories, will be kept by the museum as a resource for future researchers of LGBTQ history. The museum also holds the biggest collection of Biba and Barbara Hulanicki objects in the country since holding the exhibition Biba and Beyond; Barbara Hulanicki (2013). Les Ballets (1933) - funded by local arts patron Edward James with costumes and décor designed by leading avant-garde Paris-based artists, including Christian Bérard, André Derain, Pavel Tchelitchew and Caspard Neher - is also held by the fashion collection and is of international significance.

Lace evening dress worn by Maud Messel, 1910-12; Man’s weding agbada, Nigeria, , Traveller’s patchwork skirt, 1980s.

CHARLESTON FARMHOUSE Firle Lewes East Sussex BN8 6LL Visitor information:01323 811265 http://www.charleston.org.uk/

Office Manager The Charleston Trust 01323 815143 p.rowson@charleston.org.uk Charleston Farmhouse ('Bloomsbury in Sussex') was, from World War 1 onwards, the home and country meeting place for the writers, painters and intellectuals who made up the Bloomsbury Group. The interior was painted and furnished by the artists Duncan Grant and Vanessa Bell, and together with their collection forms a unique example of their decorative style. The house is open to visitors between April and October. There are many 'Charleston' textiles on public view in the rooms of the farmhouse, including indigo blue print curtains from China and embroidered carpets and cushions etc. Charleston House has also a very small, idiosyncratic and fascinating collection of dress and textiles, including embroideries that belonged to Vanessa Bell and Duncan Grant and head scarves, shawls, one dress of about 1913, a Persian coat and Uzbek robe and assorted oddments of textiles All of these are briefly described and detailed item by item on the Charleston web site, http://www.charleston.org.uk - 'About Us - Search the Collection.' The dress and textiles collection is only available for view only by special appointment.

Uzbek robe, about 1912-22, CHA T.85 Vanessa Bell, printed head scarf, 1920-40, CHA T.178 Kiss Me Handkerchief, silk and cotton, CHA. T.248

CHERTSEY MUSEUM The Cedars, 33 Windsor Street, Chertsey, Surrey KT16 8AT

Tel. 01932 565764

www.chertseymuseum.org

Public opening hours: Tuesday – Friday: 12.30 – 4.30pm, Saturday 11am – 4pm

Entry is FREE

Contact: Grace Evans, Keeper of Costume (grace.evans@runnymede.gov.uk)

Appointments may be made (minimum 2 weeks’ notice) to see items from the collection not on display. Please contact Grace Evans on the above email address.

The Olive Matthews Collection

This nationally significant collection of fashionable dress dating from the seventeenth century to the present day is housed at Chertsey Museum, Surrey. The core collection was assembled by Miss Olive Mary Matthews (1887 – 1979) and has been housed in the Museum since 1972. Successive curators have added to the collection to bring it up to date and to fill gaps. The collection now amounts to in excess of 4,000 garments and accessories. Olive Matthews grew up in Camden, London, building up the core of the dress collection from London antique markets in the 1920s and 1930s. She settled in 1939 in Virginia Water and became a knowledgeable collector of dress, textiles and related accessories, and left a significant historical collection. The Olive Matthews Trust was set up in 1969 to ensure that this important collection is preserved and displayed for public benefit. The Trustees purchased the building, The Cedars, in 1972 working with the local authority to support the aims of the Trust within the Museum Service which also houses non-dress items of local historical interest.

This spectacular collection features many items of national significance. It contains over 4,000 articles of men’s, women’s and children’s fashionable clothes dating from c.1600 to the present. They help to reveal the history of dress and textiles throughout the centuries, highlighting changes in style, fashion and fabrics. Historic and contemporary fashions from the prestigious Olive Matthews Collection are featured in annually changing exhibitions devoted to different themes in a dedicated gallery. Dress and accessories selected for display include male and female garments, shoes, hats and jewellery. A separate Fashion Accessories Gallery is also to be found within the Museum.

Fashion in Focus 1600 – 2009: Treasures from the Olive Matthews Collection, by Grace Evans was published in May 2011. This book provides an illustrated guide to the highlights of the collection.

Images copyright The Olive Matthews Collection, Chertsey Museum, Photos by John Chase Photography.

Sack back gown and matching petticoat, c.1775 – 1778, M.1999.4 Opera cloak, possibly designed by Paul Poiret, 1912, M.2006.09 (right).

Seaside walking dress, 1916-20, M.1995.22 (left).

Man’s 3-piece suit by Burberry, c.1935 – 1937, M.1993.215

Dover Museum: Deal Costume and Accessories Collection (The Salter Collection) c/o Samantha Harris Assistant Curator Dover Museum and Bronze Age Boat Gallery Market Square Dover Kent CT16 1PB samantha.harris@dover.gov.uk Direct Number: 01304 216883 Mobile: 07740560970

Dover Museum now holds the collection from the Deal Costume and Accessories Museum or Salter Collection (opened 1984, closed 1998), in addition to its own smaller costume collection. The Deal Collection comprises over 500 items and spans approximately two centuries, ranging from the beginning of the nineteenth century (Regency period) to the post-war period of the 1950’s, 60’s and 1970’s. Represented is also the Victorian period of the crinoline dress, the late nineteenth century period of the bustle dress, the Edwardian period of the late nineteenth century to the First World War, the 1920’s period of the ‘flapper’, the pre-war 1930’s period and wartime fashions of the 1940’s. The costume includes clothes for men, women, children and babies, with representative examples of underwear, accessories such as shoes, hats, gloves, umbrellas and parasols, fans and a small selection of toys. There are also examples of uniforms, wedding dresses, bathing costumes, decorative waistcoats and shawls. Many of the garments are ornately decorated and made from a representative range of fabrics. It is apparent from indexes accompanying the collection, that many objects do have local provenance from Deal families specifically, and the those from the wider Dover District, thus reflecting life in the area over the last two centuries. It is regularly used by local institutions and groups such as the Kent Costume Trust and Deal Maritime and Local History Museum. Documentation and preventive conservation work is currently being undertaken at Dover Museum to understand the collection more fully, exploring individual piece’s local significance and cross referencing with their initial (incomplete) index. The aim of which is to prioritise future remedial conservation, and enable members of the public digital access to images and records relating to the costume, as well as highlighting potential items for display.

Day Dress, printed , front and back c 1845.

DITCHLING MUSEUM OF ART and CRAFT

Ditchling Museum, Church Lane Ditchling, Sussex BN6 8TB

01273 844744

Opening Hours: Tuesday - Saturday 10.30 - 5 Sundays & Bank Holidays 11 - 5 Tickets: Adults £6.50 / Concessions £5.50 Under 16s Free

info@ditchling-museum.com

After winning a major National Lottery Fund capital grant, this museum underwent a major transformation, re-opening in 2012 under its new name. Its rich collection of art, craft and applied art reflects the important place that Ditchling holds in the tradition of 20th century art and craft in Britain through the work of the Guild of St Joseph and St Dominic on Ditchling Common, and associates such as Edward Johnston who was the central figure in the revival of a European tradition of calligraphy, and who is perhaps best known for designing the London Underground typeface. The Guild was founded by Eric Gill with Hilary Pepler and Desmond Chute, and formally constituted in 1921. This Catholic community of work, faith and domestic life continued to attract artists and craftsworkers until it was disbanded in 1989. Members were Eric Gill, Hilary Pepler, Desmond Chute, Joseph Cribb, David Jones, Philip Hagreen, George Maxwell, Valentine KilBride, Dunstan Pruden, Edgar Holloway, Jenny KilBride, Winefride Pruden and Ewan Clayton.

The collection contains related dyed and woven textiles by Ethel Mairet, Valentine Kilbride and the museum's founder Hilary Bourne. These include vestments and garments as well as furnishing fabrics; Hilary Bourne's own textile collection amassed from her travels is also at Ditchling Museum. These can be seen by appointment. The museum hosts lively temporary exhibitions of arts and crafts, past and present, including textiles.

The museum , which sits next to the village green in a charming Sussex village, was awarded the 2014 RIBA Award for South East Building of the Year, 2014 RIBA National Award winner and the 2013 World Architecture News Award for Adaptive Reuse

Jenny Kilbride, Plain Weave Cloth, 2013 Woven textile -Elizabeth Peacock.

Ethel Mairet, woven jacket Ethel Mairet, Natural Dye Book, 1916

Hampshire Cultural Trust Costume Collection https://www.hampshireculturaltrust.org.uk/ The On-line Dress and Textiles collection includes over 3000 examples of textiles from the 17th century onwards and whole garments and accessories from the 18th century onwards. See http://hctcollections.org.uk/index.asp?page=collection&mwsquery=%28%7Bcollection%7D=%7Bcostume%7DOR%7Bcollection%7D=%7Btextiles%7D%29 Items in store at the Bar End Collections Stores in Winchester may be viewed for research purposes, by appointment only, Monday to Friday between 9am and 5pm. Contact: collections@hampshireculturaltrust.org.uk 01962 678140

HASLEMERE MUSEUM 78 High Street, Haslemere, Surrey GU27 2LA Tel: 01428 642112 www.haslemeremuseum.co.uk Public opening hours: Tuesday – Saturday: 10 AM – 5 PM. Contact: Julia Tanner, Museum Curator (curator@haslemeremuseum.co.uk) In 1888 Hutchinson formed a private museum in his garden barn based around botany, geology and social history. He established a revolutionary new role for museums by emphasising the importance of education for everyone. Today the museums houses a diverse collection - over 2,400 items - including fine examples of costume, accessories, household textiles, fragments and samplers from both Britain and around the world dating from the 18th century onwards. The majority of our non-Western ethnographic items originate from Africa and South East Asia, particularly China. Most items are 20th century, including a striking assortment of Zulu beadwork. From China we have embroidered shoes, jackets and cloaks. From India, 19th century Gujarat headdresses, Banjara embroidered blouses and Kashmir leather and velvet slippers. We have plant fibre from Pacific areas, such as Samoan tapa cloth and a 19th century vegetable fibre netted bodice, probably from Papua New Guinea. Inspired by the Arts and Crafts movement, a number of local luminaries such as Godfrey Blount and Joseph King established a local arts crafts group, the Haslemere Peasant Art Society in 1897: a group of craft workshops and weaving houses which became known as Halsemere Peasant Industries. Surviving examples include an appliqué bed hanging with birds, grapes and scrolls, probably designed by Godfrey Blount, and early 20th century textiles from Inval Weavers, Haslemere, - woven linen napkins, tablecloths and scarves. The Peasant Arts Collection was put together by, amongst others, Joseph King and the Reverend Gerald S. Davies, who gathered 700 examples of woodwork, metal work and textiles, which finally formed the basis of the Haslemere Peasant Handicraft Museum in 1905. Of around 800 regional, rural costumes held by the museum, the majority are from Eastern and Northern European countries such as Hungary, Sweden, Romania, Russia and Norway. Highlights include Hungarian chemises and headscarves, Romanian blouses and skirts and Norwegian bodices, waistcoats and belts. Most are late 19th century. This collection includes a few printed textiles and lace from arts and crafts workshops in Russia, of the early 20th century. The Museum also contains a small collection of local dress, textiles and accessories including a fine sampler collection and an 18th-century child’s dress from Fernhurst, West Sussex.

Wedding dress, c. 1835-40, printed cotton, TC 6155 (left). Tunic, Gujurat/Kashmir, late 19th century, TC 5 69 (right).

Dowry pillow (detail), Transylvania, late 19th century, T 5 72 (left). Textile, Russia, early 20th century, printed linen, TF 5 1 (right).

HASTINGS MUSEUM AND ART GALLERY Johns Place, Bohemia Road, Hastings, East Sussex TN34 1ET Tel: 01424 451052 www.hmag.org.uk Public opening hours: Tuesday – Saturday: 10 AM – 5 PM, Sunday: 12 noon – 5 PM

(April – September); Tuesday – Saturday: 10 AM – 4 PM, Sunday: 12 noon – 4 PM (October – March).

Contact: Cathy Walling (museum@hastings.gov.uk) Hastings Museum has an impressive and significant collection of world dress- especially North American Indian garments, weapons etc. The museum houses four major large collections of artefacts and photographs from the collections of Colin and Betty Taylor, Randal and Beatrice Callander, Edward H. Blackmore and Clare Sheridan. This includes an important historic piece, an eagle-feathered bonnet, acquired by Colin Taylor from McCleod who worked with Buffalo Bill and purchased the bonnet from Iron Tail c.1911. Iron Tail (or Cinte Muzza) was an Oglala Sioux and a favourite of Buffalo Bill's, touring with his Wild West Show for many years. The show came to Lewes and Hastings in 1904. The museum also houses an important first Nations Canadian collection, including dress and accessories, of the conservationist Archie Belany (1888-1938), born in Hastings. Living with the peoples of Lake Temagami in North Ontario, he took on the persona of 'Grey Owl,' publishing books on their way of life and the need forn its conservation. This museum also contains a large collection of world material culture collected by Lady Annie Brassey on her trans-world voyages with her husband, Thomas Brassey, Master Mariner and Secretary to the Admiralty, on their steam yacht Sunbeam. These voyages ran from the late 1870s till Lady Brassey died at sea in 1887. Lady Brassey also bought items from London dealers to enhance her collection. The Brassey family donated this collection, with the Durbar Hall (which had housed it at the Brassey Museum at their Park Lane home in London,) to the town of Hastings. Lord Brassey was Liberal MP for the town for many years and built the Brassey Institute, first home of the Hastings Museum. The collection contains a few items of dress and jewellery. On display is the exceptionally rare feather cloak from Hawaii which once belonged to Queen Pomare of Tahiti and some of Lady Brassey's silver jewellery from the Middle East. Finally, Hastings Museum has a local history dress collection, some of it on display, including 1930s swimwear, a late 50s biker jacket and costume worn at the annual Jack-in-the-Green Festival.

Jacket purchased by Lady Brassey, China about 1883,

Left: .Chief Iron Tail’s headdress, 19th century Rocker jacket, late 1950s (right).

HENFIELD MUSEUM Coopers Way, Henfield, West Sussex, BN5 9DB www.henfieldhub.com/henfield-museum/costume-connections-athenfield-museum Follow Henfield Museum on Facebook Public Opening Times Monday /Tuesday/ Thursday and Friday 1000-1200 Wednesday 1430-1630 Saturday 1000-1200 & 1430-1600 Closed Bank Holidays, and Easter Bank Holiday weekend and between Christmas and the New Year. As space is at a premium in the museum, costume talks and garment study are by appointment only. The local history collection that became Henfield Museum was begun by Lucie Bishop in the 1930s and used to be stored in the landing cupboards at the Assembly Rooms. In 2018 Henfield Museum remains part of the Henfield Hall in the heart of the village. The museum holds collections of local artefacts, maps, paintings, photographs, and costume. From the display cabinets (originally in a clothing shop) to the cupboards (ditto) full of sewing sets, threads, hat brushes, hat pins and handbags, the museum provides a perfect setting for looking and learning. We have a diverse collection of uniform, from late Victorian Sussex Rifle Volunteers, to 1940s land girl, FANY Corps (First Aid Nursing Yeomanry), a WW2 WVS uniform and some scouting items. Plus Victorian costumes, 1930s evening wear, family made wedding dresses, christening clothes (one set made from the same material as the wedding dress) shoes, gloves, stockings, underwear and nightwear. The collection is mainly 19th and 20th century, but as a village that has had some wealthy residents over the years, there is a fine mix of satin and beads mixed in with the smocks and farm bonnets. We have an intriguing bead embellished brown dress in the stock that never fails to provoke speculation as to its reason for being and two of our Victorian mantles have ‘Hanningtons of Brighton’ labels. Much of the costume was donated by Henfield residents and so in some cases it is possible to look more closely into the lives of the people who wore the clothes, as their homes and businesses, and sometimes their place in Henfield cemetery, can still be seen.

Costume case

Beaded Dress (left). Embroidered waistcoat (right).

Honiton - Allhallows Museum of Lace and Local Antiquities High Street HONITON Devon EX14 1PG Tel+44 (0) 1404 44966Email: info@honitonmuseum.co.uk Web: www.honitonmuseum.co.uk

2018 Opening Times: March 19t- October 31st Monday to Friday: 09.30 - 16.30 Sat: 09.30: - 13.00 Sun: Closed:During the month of October, the Museum is open from 09.30 to 15.30 on Monday to Friday and 09.30 to 12.30 on Saturday. Sun: Closed:FREE admission Group visits welcome by prior arrangement. In the town famous for lace making, Allhallows Museum has one of the most comprehensive collections of Honiton Lace in the world. Displays in two galleries feature exquisite examples of 16th to early 20th century Honiton lace. The Norman Gallery, named after a founder member of the museum, Eleanor Norman, houses many exquisite examples of the world’s finest collection of Honiton Lace. Honiton lace is one of the world's high quality laces which was much in demand during the 17th and 18th centuries amongst the rich both at home and abroad.The main characteristic of Honiton lace is the 'sprig' a term used for a flower, leaf or other design - each made separately. The finished sprigs were then sewn onto net to form the finished design or garment. The designs for sprigs are usually taken from the Devon countryside.

HORSHAM MUSEUM,9 Causeway Horsham, West Sussex RH12 1HE 01403 254 959 www.horshammuseum.org

Contact: Jason Semmens, Assistant Curator, [museum@horsham.gov.uk]

Founded in 1893 by the Free Christian Church, Horsham Museum moved to its current location in Causeway House, on Horsham's historic Causeway, in 1941. Today the Museum is part of Horsham District Council. Horsham Museum is fortunate to have a large costume collection ranging in age from the late 1500s to the 1990s, with the focus on Victorian and early to mid twentieth century garments. Costume, by the nature of its size and fabric content, is vulnerable in storage and it was decided reorganise the collection in 2010 to preserve the collection in the best way possible. We have received grant funding from Renaissance South East, the Museum Development Service for Surrey, East & West Sussex, to buy specialist storage boxes and a large quantity of acid free tissue paper for packing. The costume collection is the focus of a rotating exhibition programme in a dedicated gallery, changing twice yearly.

Riding costume- 1950s

Bathing costume, mid 1959s no 2008.109 Evening dress, about 1926 , no. 1974. 45

The Kent Costume Trust Dress Collection

kentcostume@aol.com The Kent Costume Trust is open to anyone interested in period costume, accessories and associated textiles. It was formed in 1983 to educate and to encourage further knowledge on all aspects of costume. The group stages exhibitions and lectures and holds members' meetings on collecting, identifying and conserving garments. The Trust offers a wealth of knowledge and expertise among its members with opportunities to talk and share with like-minded people. The library is available by appointment to members and contains many interesting books for research purposes. The Trust aims to assemble a collection that is maintained and promoted in Kent and now has several thousand items from the 16th Century onwards but mostly from the 19th and 20th Centuries. At the moment the Trust has no permanent display space. Enquirers are however welcome.

Woman's Walking Boot about 1900

Three printed cotton day dresses, about 1840-50 Three silk dresses 1845-65

White day dress about 1865

Lewes Theatre Wardrobe Lewes Little Theatre Lewes Theatre Club Lancaster St Lewes East Sussex BN7 2PX Tel: 01273 474826 Contact :- Gerry Cortese E mail gerrycortese43@gmail.com or Alison Soudain E mail alisonsoudain@gmail.com Lewes Little Theatre was created by the Rev Kenneth Rawlings (c 1886-1969), a keen dramaticist, who was appointed rector of St Michael in 1925. His was the idea of forming the Lewes Theatre Club and he served as a director for many years. He was also an actor and producer (including the first production in 1940). He joined with the Lewes Players to find a home for a permanent theatre in Lewes and was a trustee of the building before its transfer to Lewes Little Theatre Limited in 1949. Since then this theatre group has continued to flourish and it now owns a large collection of theatre wardrobe costumes, donated by supporters in the Lewes and District area. Many have been made up for specific historic productions, with a few additions donated by Glyndebourne Opera House. This is a large collection of many, many hundreds of examples of period dress and accessories which date from the mid 19th century onwards. The function of the collection is to provide stage costumes and thus many pieces have been dyed, altered and reconstructed, though some others remain intact. Highlights include a bustled - back late 1870s silk dress embroidered in India, some simple cotton and linen day dresses of about 1912, some beaded 20s dresses and evening wraps, a printed velvet evening jacket from the salon of Michael Sherard of about 1956 and a range of 1950s/60s ready to wear dresses, as well as menswear. A small special collection has been set aside which will not be used or altered. Viewing is by appointment only, planned well in advance, with a fee going into the theatre funds.

KILLERTON (National Trust) Broadclyst, Exeter, Devon EX5 3LE Tel: 01392 883183 www.nationaltrust.org.uk/Killerton Public opening hours: 11am – 3.30 pm (mid-February – Easter); 11 am – 5 pm (Easter – late October/early November) Closed January – mid-February half-term week. Contact: Shelley Tobin, National Trust Costume Curator (shelley.tobin@nationaltrust.org.uk) The National Trust's Killerton House, built in 1778–9, brings to life generations of the Aclands, one of Devon's oldest families. The current exhibition Branded: fashion, femininity and the right to vote is part of the National Trust’s Women and Power programme for 2018. The displays are drawn from a collection of over 20,000 items. The Killerton costume collection was begun by Paulise de Bush who saved many exquisite 18th and 19th century costumes from destruction during World War II. The collection is shown in an annual exhibition, linked to changing themes and stories. This year visitors will see dress reflecting the timeline of the women’s suffrage movement from the late 19th century to 1928. THE ROYAL ALBERT MEMORIAL MUSEUM AND ART GALLERY Queen Street, Exeter, Devon Tel: 01392 265858 www.rammuseum.org.uk Public opening hours: Tuesday to Sunday 10 am-5 pm. (Contact: Shelley Tobin, Assistant Curator (Costume and Textiles), Thursdays and Fridays Lace, dress and accessories dating from the 17th century to the 20th century are shown in several galleries around the museum. The collection is one of the most important outside London. Many objects are in excellent condition and have good provenance.. There are approximately 20,000 items, including men’s and women’s dress dating from the 18th century to the 1980s, accessories, children's dress, occupational dress, 19th and 20th century military and civic uniforms, 17th and 20th century embroidery and samplers, English and Continental laces from the 16th-20th century, including the Palliser and Treadwin collections, as well as photographs. This museum also houses an internationally famous world cultures collection, which includes precious dress and textiles from all over the world. See the museum website for further details.

Bergere hat, England, c. 1750, Killerton (left). Gown made from embroidered hangings (c. 1720), England, c. 1740, Killerton (right).

Day dress, c. 1880-85, Killerton (left). Skirt made from kente cloth, Exeter, 202.2006.1 (right).

BRENT MUSEUMS AND ARCHIVES

Willesden Library Centre, 95 High Rd, London NW10 2SF

020 8937 3307

https://www.brent.gov.uk/museum

Contact to view the collection by appointment only: Dorian Knight, Heritage Officer (Monday 9:00am – Friday 5:00pm) (Dorian.Knight@brent.gov.uk)

The museum has around 10,000 objects, primarily from 1850 onwards, mostly reflecting working and domestic life within the London Borough of Brent. This includes a large collection of late nineteenth/early twentieth-century costume and a significant Edwardian draper’s shop interior.

Many of our textiles have come into the collection through our community work and contemporary collecting. In 2007 Brent Museum held an exhibition ‘The British Sari Story’, where we displayed our collection of saris, reflecting the lives of Asian communities living in Britain. In 2011 the Museum hosted a touring exhibition from the British Museum entitled ‘Fabric of a Nation.’ This exhibition focused on cloth as an expression of identity in modern Ghana. To accompany this the museum ran a series of workshops with Brent’s African community. This resulted in a unique fabric artwork produced collectively by community members which is now in the permanent collection. Celebrating the Queen’s Diamond Jubilee in 2012 Brent Museum worked with local elders and a craft-sewing specialist using material from our archive to produce a quilt which went on display in honour of Her Majesty.

The textile and costume collections are currently being audited, with the intention of understanding the collection more fully. The eventual aim is to create full catalogue records to enable greater public and digital access.

Button with metallic tinted glass to resemble the semi-precious stone Marcasite (left)

Ivory ‘brise’ fan threaded with mauve silk ribbon (right)

Printed cotton dress from 1956 (left)

Wembley jumper bought as a souvenir on a visit to Wembley stadium in July 1977 (right)

BRUCE CASTLE MUSEUM Lordship Lane, Tottenham, London N17 8NU Tel: 020 8808 8772 www.haringey.gov.uk/brucecastlemuseum Public opening hours: Wednesday - Sunday 1 - 5 PM Archive Search Room, Wednesday 1 - 5 PM, Thursday - Friday 9.30 AM - 5 PM, alternate Saturdays 1 - 5 PM Contact: Curator (museum.services@haringey.gov.uk) Bruce Castle Museum is a beautiful Grade 1 listed former 16th century manor house situated in 20 acres of parkland. Since 1965 it has housed the London borough of Haringey's Archive and Museum Service. The collections today cover local history and community history for the area of Haringey, to include archaeology, archives, fine and decorative arts, social and working history, photographs, film and oral history, with some specialist collections to include postal history. There is a fine collection of costume and textiles of local interest (approximately 1,000 items). Of particular note is a comprehensive collection of Victorian men and women's dress, as well as parasols, fans and gloves, some of which were made locally by professional artisans or small manufacturers, or made by hand at home. There is a related collection of underwear, which allegedly includes undergarments from Queen Victoria. In addition there is a small collection of clothes and shoes for babies and young children spanning the Victorian period to the Second World War. In 1938 the Museum held a Tottenham industry exhibition which added to the dress and textile collections: examples show the stages of manufacture of shoes and buttons, and the making of ecclesiastical embroideries and vestments. Further examples of the eclectic range include a number of postal uniforms from the early 19th century onwards, collected due to the building's association with Sir Rowland Hill and his reform of the modern-day Post Office. There are also small collections of carnival head-dresses and costumes, dating from the First World War Peace Pageants to the present-day traditions of carnival, made for Notting Hill by a local mas band over the past 30 years. There is a good associated collection of film and photographs, showing the history of carnival locally and demonstrations of how costumes were made and used on parade. More contemporary collecting has seen examples of African and Caribbean textiles and dress added, from Nigeria, Sierra Leone, Ghana and Jamaica. This joins some early examples of Chinese ceremonial dress, alongside civic ceremonial regalia and robes (including for the Queen's coronation in 1953), sportswear (particularly football from Tottenham Hotspur Football Club), textiles and some dress from the Prince of Wales Hospital in Tottenham, delicate and unusual samplers and worked textiles connected to the local Quaker community in the 18th and 19th centuries and stunning large-scale trade union banners.

19th century fans (left) Gentleman's embroidered silk waistcoat, 19th century (right)

19th century parasols, made with carved ivory handles and silk (left)

Different stages of making carnival head-dresses for ‘The Silk Road’, 2017, made by the People’s World Carnival Band, Tottenham (right)

MUSEUM OF RICHMOND

Second Floor, Old Town Hall, Whittaker Avenue, Richmond, TW9 1TP

Tel: 020 8332 1141

Opening Hours: Tuesday – Friday: 11am to 5pm Saturday, April to September: 11am to 5pm Saturday, October to March: 11am to 4pm Contact: Rebecca Arnott (curator@museumofrichmond.com)

The Museum of Richmond has been housed in the Old Town Hall in Richmond since it opened in 1988. The Museum was developed through the initiative of local residents, amongst whom was the Museum’s first Chair, John Cloake. The collection has since grown to around 5,000 objects and covers the social and industrial history of the local area.

Costume related objects in the collection now number c.250 records. These pieces include a number of wedding dresses, children’s clothing from various periods and beautifully stitched items, such as an intricately embroidered man’s eighteenth-century waistcoat. These pieces sit alongside accessories, uniforms and sportswear.

LDMRD 0278 –Embroidered Waistcoat, 18th Century

Wedding Shoes, 1906 LDMRD 0199 (left) Silk Nightdress, 1920s LDMRD 0498.2 (right)

THE FAN MUSEUM 12 Crooms Hill, Greenwich, London, SE10 8ER Tel: +44 20 8305 1441 www.thefanmuseum.org.uk Public opening hours: Tuesday – Saturday 11 - 5pm; Sundays 12-5pm. (Closed on Mondays) Contact: info@thefanmuseum.org.uk Located in the heart of historic Greenwich, The Fan Museum occupies two lovingly restored Grade II* listed Georgian townhouses. It is the only museum in the UK devoted in its entirety to the history of fans and the ancient craft of fan making. The museum holds over 5,000 fans and fan leaves. This comprehensive and significant collection has examples from the 11th century to the present day and is particularly strong in 18th and 19th century European fans. ‘Gems’ of the collection include a fan by Walter Sickert and a fan-shaped painting by Paul Gauguin. The core collection was assembled by Founder and Director of the museum, Mrs Hélène Alexander, and since opening to the public in 1991 the collection has continued to grow. The museum’s permanent displays explore the history and craft of fan making, whilst it’s programme of temporary exhibitions cover themes such as politics, fashion and world cultures.

‘The Hapy Restoration', English c. 1660. The Fan Museum HA Collection (left) Applied faces fan. Chinese for Export, c. 1860. LDFAN1990.1 (right)

Advertising 'mask' fan for Moet & Chandon champagne, c.1930. LDFAN2003.423.HA (left) Ivory fan with figures in a Medici garden, signed Alexandre. c.1860. The Fan Museum HA Collection (right)

THE ROYAL SCHOOL OF NEEDLEWORK Apartment 12a, Hampton Court Palace, Surrey KT8 9AU Tel: 020 3166 6932 www.royal-needlework.org.uk Public Opening Hours: tours – see the RSN website www.royal-needlework.org.uk ; research by appointment Contact: Dr Susan Kay-Williams susan.kay-williams@royal-needlework.org.uk The Royal School of Needlework has a Collection of more than 4,000 textile objects and many thousands of archive objects including workbooks, minutes, photographs and especially designs of pieces worked over the last 100+ years. Founded in 1872 with the objectives of keeping the art of hand embroidery alive and of offering suitable occupation for educated women who would otherwise have been destitute, the RSN today is a thriving centre for hand-embroidery education with everything from leisure courses to the three-year Future Tutor programme and the BA (Hons) Degree in Hand Embroidery for Fashion, Interiors, Textile Art. The Collection is used for teaching purposes and also as the basis for half-yearly exhibitions. Because the exhibitions are held in our working Studio we can only rarely offer open access but we offer conducted tours usually up to one week a month. Much of our Archive is not catalogued but we do try to meet researchers’ needs when we are asked about things that we know we have. Image of the RSN working on the Queen’s coronation train in 1937 for Queen Elizabeth wife of George VI.

Image of the RSN showroom from its purpose-built building opened in 1903 which was located on Exhibition Road, South Kensington

The Grove Book: a collection of textile fragments collected by Mrs Georgina Annie Grove between the late 19th century and 1919, with the pieces from all over Europe and from the 17th century to the 20th (left) Register of students from 1872 – 1880s (right)

V&A MUSEUM OF CHILDHOOD

Cambridge Heath Road, Bethnal Green, London E2 9PA

Tel: 020 8983 5200

http://www.vam.ac.uk/moc/

Stored objects can be viewed only by appointment, please email moccollections@vam.ac.uk to make arrangements.

The MoC has the largest and most diverse public collection of children's costume in the country: over four thousand items, for ages from new-born baby to teenager, from a sixteenth-century swaddling band, to contemporary fashions and fancy dress. The seventeenth-century garments are all for babies: another swaddling band; a sumptuous bearing cloth of 1660-70; and the clothing on a Spanish wax effigy of a baby, complete with a nappy which is the earliest in a public display in this country. The eighteenth-century clothes include a child’s ‘pudding’ head protector, suits, shirts, waistcoats and breeches, and boys’ and girls’ dresses; accessories include a French hood and muff trimmed with silver lace.

The nineteenth-century costume shows the characteristic garments: dresses, skeleton suits, a Fauntleroy suit, a Scottish outfit, coats, sailor suits, underwear and baby layettes. The more unusual items are a mourning coat of the 1880s, a baby’s circumcision gown, and clothes worn by Albert Edward, Prince of Wales. A remarkably complete set of girl’s bonnet, dresses, coat, accessories, shoes and underwear is marked ‘Henrietta Byron 1840’. The twentieth-century collection contains innovative garments such as the disposable nappy, anorak, T-shirt, bikini and tracksuit, as well as the more traditional smocked dresses, double-breasted coats and T-bar sandals. Mary Quant, Yves Saint Laurent, Biba, Cardin, Laura Ashley and Paul Smith are among the designers represented.

Girl’s crinoline, British, 1869 (left)

Boy’s dress France, ca. 1900 (right)

‘Pudding’ safety hat, British, 1775-1800 (left)

Dress, Pierre Cardin 1960s (right)

VESTRY HOUSE MUSEUM Vestry Road, Walthamstow, London E17 9NH +44 20 8496 4391 vhm.enquiries@walthamforest.gov.uk Opening times: Wednesday to Sunday, 10am-5pm Pre-booked groups and school visits also welcome on Tuesdays. Entry is free. Contact: Rowan Bain, Senior Curator rowan.bain@walthamforest.gov.uk Vestry House Museum presents the history of Waltham Forest. Situated in Walthamstow Village, the building used to house the parish workhouse, and was later a police station and private home. It now contains themed displays capturing the unique heritage of the local area and includes the famous Bremer Car, a Victorian parlour, costume gallery and wonderful display of locally manufactured toys and games. A collection of 80,000 historic photographs from across the Borough is accessible to everyone by appointment. The VHM costume collection includes examples of clothing primarily from the 19th and early 20th century, often from local sources. There are some excellent examples of menswear and children’s wear but the majority is women’s clothing. Much of the collection was acquired in the 1970s and a good proportion from the Victoria and Albert Museum. These represent relatively high quality pieces which are largely not local. In addition, there are numerous dress patterns and other dress-making paraphernalia in the collection. Of particular significance is an early William Kilburn block printed dress. Specific local collections include an 1810 home-made day dress, the ATS uniform of a local woman, a collection of an E17 woman’s smart wardrobe from the 1920s-30s and a local wedding dress with photographs. Other photographs of clothing and costume are included in the collection. Documentation and photography is currently being undertaken at Vestry House Museum to understand the collection more fully. The aim of which is to enable members of the public digital access to images and records relating to collection.

Exterior of Vestry House Museum

Display of sewing equipment, Vestry House Museum (left)

Shoes, 18th century (right)

Silk dress, c.1860-1870, Museum number: DB26.9.64 (left)

Man’s waistcoat, mid-18th century, Museum number LDVHM: 2018.132 (right)

WILLIAM MORRIS GALLERY

Lloyd Park, Forest Road, London, E17 4PP

Tel: +44 20 8496 4390 Wmg.enquiries@walthamforest.gov.uk

Opening times: Wednesday to Sunday, 10am-5pm Pre-booked groups and school visits also welcome on Tuesdays. Entry is free. Contact: Rowan Bain, Senior Curator rowan.bain@walthamforest.gov.uk The William Morris Gallery is housed in a Georgian house, built in the 1740s and set in Lloyd Park in Walthamstow, in north-east London. The grade II* listed building was Morris's family home from 1848 to 1856. The only public Gallery devoted to William Morris, the collection has ACE Designated status.

It holds the Morris Collection, which contains cartoons/designs and works in various media by William Morris (1834-1896) and by his closest associates - Edward Burne-Jones, D. G. Rossetti, Ford Madox Brown, Philip Webb, Jane, Jenny and May Morris, Charles, Lucy and Kate Faulkner. The designs are for textiles, wallpapers, painted decoration, tiles, furniture, and stained glass. In addition there are substantial holdings of Morris & Co. wallpapers, woven and printed textiles, carpets, rugs, embroideries, tapestries, furniture, metal-work, tiles and original hand-blocks for printing the chintzes. There are also manuscripts, documents relating to Morris & Co. and catalogues of the Firm’s work, letters by Morris and others of his circle and personalia. The collection also includes original photographs of Morris and his circle.

There is also the Mackmurdo Collection, bequeathed in 1942 by Arthur Heygate Mackmurdo (1851-1942), architect designer and founder of The Century Guild, one of the earliest groups of the Arts & Crafts Movement. There are cartoons and designs for furniture, stained glass, wallpaper, textiles and miscellaneous items of decoration, drawings and watercolour studies, as well as furniture, printed and woven textiles, wallpapers and metalwork by Mackmurdo or by those associated with him in The Century Guild, notably Herbert Horne and Selwyn Image. There is also a complete set of the Century Guild’s magazine, The Hobby Horse; correspondence and manuscripts, including his History of the Arts & Crafts Movement; photographs and personalia.

In addition to the above, the Gallery has representative collections of work by other leading figures in the Arts & Crafts Movement, including C. F. A. Voysey, and textiles, paintings and illustrations by Walter Crane.

Peacock and Bird Carpet, designed by William Morris, made by Morris & Co., Merton Abbey, London mid-1882s. Object no. N17 (left)

Maids of Honour embroidery, designed and worked by May Morris, c. 1890s. Object no.F368 (right)

Artichoke embroidered wall hanging, designed by William Morris, 1877. Object no.F335 (left)

Angels with Trumpet cretonne, designed by Herbert Horne, retailed by the Century Guild, 1884. Object no.F77 (right)

(all images ©William Morris Gallery, London Borough of Waltham Forest)

WARNER TEXTILE ARCHIVE Braintree District Museum Trust Silks Way, Braintree, Essex CM7 3GB Tel: 01376 557741 http://www.warnertextilearchive.co.uk/ Public opening hours: every Wednesday and Saturday 10am-4pm. Collection store open by appointment. Contact: info@warnertextilearchive.co.uk Home to England’s second-largest collection of flat textiles, the Warner Textile Archive narrates the history of a great British industry from its local roots to global recognition. With around 100,000 items, including over 60,000 paper designs, photographs, rulepapers, ledgers, hand-woven silks and printed textiles, the Warner Textile Archive Collection documents nearly 500 years of design history. The archive also documents the successes and innovation of textile manufacturer Warner & Sons from the late 1800s. Housed in an original Grade II listed Warner & Sons mill building, the collection comprises stunning textiles and inspirational paper designs, as well as original printing blocks, photographs and other documentary material. A permanent gallery exhibits collection highlights including fabrics created for the Royal family, complemented throughout the year by a calendar of temporary exhibitions – aiming to inspire the designers of the future as well as offer a view of the past.

Warner Textile Archive Printing Blocks for ‘Directoire’ fabric, 1910 (left) ‘Rose’ paper design, William Morris, 1883 (right)

Silk hanks, 1930s (left) ‘Bexley’ power-woven fabric, 1934 (right)

PETERSFIELD MUSEUM AND FLORA TWORT GALLERY The Old Courthouse, St Peter’s Road, Petersfield GU32 3HU Tel: 01730 262601 www.petersfieldmuseum.co.uk Public opening hours: Open March – November, Tuesday – Saturday: 10 AM – 4 PM. Contact: Katherine Mills (curator@petersfield.museum.co.uk) The Costume Collection In 2007 the museum acquired an historic costume collection from a local school, Bedales, comprising of c1000 pieces from crinolines, ball gowns, hunting coats, hats, mourning wear, swimwear, underwear, debutante gowns, an elegant England First XI ladies’ hockey dress from the 1880s/90s. Bedales began amassing historic clothes in the 1940s, before they were seen as valuable collectors’ items, and then used them as costumes in school plays. The resulting collection is unique – a living link with the first owners of these clothes centuries ago. The oldest pieces are women’s dresses from the 1720s whilst the oldest male costume is an embroidered coat and waistcoat in silk from the 1770s. English chintz dresses from the Regency and Victorian periods are matched by more modern examples, including a 1910-15 white silk Liberty's dress embroidered in white, a 1930s Chanel evening dress in yellow silk and heavy ruched nylon ballgown from the mid 1950s in the fashionable material of the time – nylon. The museum also holds about 8000 photographs which show life in Petersfield and the surrounding villages from the beginning of the 20th century through to the present day, as well as a strong social history collection, artworks by local artist Flora Twort and a collection of works by and about renowned poet Edward Thomas.

Wedding Bonnet c. 1830s. Wedding Dress c. 1845-50.

Dresses c.1920s Green Silk Mantle c. 1855-1865

THE POWELL-COTTON MUSEUM, QUEX HOUSE AND GARDENS Quex Park, Park Lane, Birchington, Kent CT7 0BH Tel: 01843 842168 www.quexmuseum.org Public opening hours: Museum open Tuesday – Sunday 10-5; Quex House open April-October only, 1-4pm. Contact: Dr. Inbal Livne (Head of Collections) Collections@quexmuseum.org The Powell-Cotton Museum at Quex Park was established in 1896 by Major Percy Horace Gordon Powell-Cotton (1866-1940) to house natural history specimens and cultural objects collected on his expeditions to Asia and Africa. A traveller, hunter and collector all his life, from the beginning Percy Powell-Cotton was also interested in the people of the countries he travelled in, accumulating an ethnographic collection of nearly 20,000 objects.

Textiles are under-represented in this vast collection, but key pieces include material from Morocco and Cameroon (collected in the 1930s) and a small collection of contemporary textiles from north-west (Ghana and Senegal) and south-east Africa (Mozambique and South Africa). Of particular note are two outfits from Kashmir; one for a Gelukpa Tibetan Monk and one for a married Ladakhi woman, both commissioned by Percy Powell-Cotton in 1898 and in excellent condition.

In addition to textiles, the Museum holds a substantial collection of jewellery and accessories, mostly from Africa. Highlights include silver jewellery from Morocco, Tunisia and Algeria and beadwork from South Africa, Somalia and South Sudan. Many of these collections are accompanied by an extensive photographic archive, showing these pieces in use. Current displays include a small selection of African textiles and jewellery, spread across the Museum. There are no specialist textile staff at the Powell-Cotton Museum, but the collection can be accessed by appointment via the Head of Collection, Dr. Inbal Livne.

MAIDSTONE MUSEUM AND BENTLIF ART GALLERY St Faith’s Street, Maidstone, Kent ME14 1LH

Tel: 01622 602850www.museum.maidstone.gov.uk

Our public opening hours: Tuesday – Saturday 10 AM – 5 Pm; Sunday: 12 Noon– 4 Pm (Closed Sundays from November – March) Contact: Collections@Maidstone.gov.uk Maidstone Museum’s ‘Dressing Rooms’ – or Costume Gallery – shows a chronological progression of the changing shape of women’s dress from 1800 to 2000. The display incorporates underwear, accessories, children’s garments, and doll’s clothes from each decade, all complemented by paintings and photographs from the collections. As you walk through the gallery, you are able to appreciate both the changing shape of women’s dress and the cyclical nature of fashion. Discover the Grecian-inspired empire line of the early 1800s, and admire the body-covering fashions and the crinoline skirts of the Victorian era. As we leave behind the 19th century and enter the 20th, hems rise then fall again through the succeeding decades. Women’s figures become moulded with restrictive foundation garments and corsets reappear in the mid-20th century. As society’s attitudes change to dress, so the clothing on show reflects the freedom of choice (and movement) that women are able to make. Don’t miss the pregnancy corset, Victorian wedding dress, and liquorice allsorts dress. Designer garments The costume and textile collection consists of approximately 7,800 items. Collecting started in the 1950s, and originally consisted of some good examples of 17th and 18th -century costume and textiles, together with a good basic collection of several hundred 19th-century costume items and accessories. During the 1970s, a conscious effort was made to develop the collections in the field of 20th-century fashion and, at that time, Maidstone became one of the first provincial museums to specialise in contemporary costume collection. This in turn led to the acquisition of two large collections of couturier and designer garments, including pieces of Hartnell, Givenchy, Dior, Jean Patou, and Balenciaga. Costume donations The collection was further enhanced by the donations of the entire wardrobe of Doreen, Lady Brabourne, consisting of 1,500 items dating from the 1930s to the 1970s. The ‘High Street’ end of the fashion market has also been comprehensively collected, often by local purchases. In connection with the Carriage Museum collections, a small group of coachmen and footmen’s liveries is held and has recently been enlarged by the rare transfer of a group of similar material from the Victoria & Albert Museum. The museum also holds costume accessories, including headwear, shoes, and bags and, to a lesser extent, male and children’s costume and accessories. The needlework collections are varied and contain a number of outstanding early pieces and 20th-century embroidered maps and samplers, primarily from the large Ellis Collection.

Image credit: Matt Chisnall

Fan, 1780 (left)

Shoes, early 19th century (right)

Bodice, skirt, and bolero, worn by Lady Brabourne, United States, c. 1957 (left)

Bodice (detail), worn by Lady Brabourne, c. 1957 (right)

The Salisbury Museum The Kings House, 65 The Close, Salisbury SP1 2EN Tel: 01722 332151 Website: www.salisburymuseum.org.uk Opening times: Monday to Saturday 10:00 to 17:00 Sundays (27 May - 30 September 2018) 12:00 to 17:00 Bank Holidays (except Christmas Day, Boxing Day and New Years Day) 10:00 to 17:00 Contact: Valerie Goodrich, Curatorial Assistant, valerieg@SalisburyMuseum.org.uk The costume collection contains clothes and other items related to the local history of Salisbury, for example the uniforms of Wiltshire volunteer militia, Downton Lace (a local 19th century lace industry named after a village south of Salisbury) and early uniforms from Salisbury Teacher Training College. Much of the costume and textiles collection were worn, made by or associated with local people which helps to tell the story of the local area, particularly because it creates a direct connection with people from the past. There are an estimated 5,000 items within the costume collection. There is a large collection of 18th- and 19th-century ladies’ dresses (mainly due to Salisbury ladies who donated items to the collection in the early 20th century, when the collection was being formed), fashion accessories (including fans, bonnets and parasols) and examples of embroidery including 17th-century stumpwork and 18th-century samplers. Some items in the collection are of particular research value; for example access to a riding habit studied by Janet Arnold in the 1960s.

The Salisbury Musuem. Photo by Ash Mills.

Shoe horn, 1598 (left). Pedlar doll (right). Uniform of Capt. John Swayne, 1st Battalion Wiltshire, Local Militia, 1812 (left). Day dress, c. 1911 (right).

SMALLHYTHE PLACE DRESS COLLECTION (National Trust) Smallhythe, Tenterden Kent TN30 7NG Telephone: 01580 762334 For information on opening hours: www.nationaltrust.org.uk/smallhytheplace Contact: c/o Paul Meredith, House Manager, The half-timbered house, built in the early 16th century when Smallhythe was a thriving shipbuilding yard, was the home of the Victorian actress Ellen Terry from 1899 to 1928, and contains her fascinating theatre collection. The cottage grounds include her rose garden, orchard, nuttery and the working Barn Theatre. Smallhythe Place was the last home of Ellen Terry - known as the ‘Queen of the Theatre’. Amongst its extensive theatre collection are dresses and accessories worn by Terry and Henry Irving in their most famous Shakespearian roles. These can only be visited by appointment only. The Beetle Wing Dress, 1888: After more than five years away from the public eye, £50,000 worth of fund raising, 1,300 hours of conservation work and 1,000 real beetle wings being sewn back in place by specialist conservator, Zenzie Tinker, the dress that was made famous by Victorian actress Ellen Terry is back on public display. It remains one of the most iconic and celebrated theatre costumes of the Victorian period. The emerald and sea green gown, adorned with the iridescent wings of the jewel beetle was designed to look like soft chain armour and yet give the appearance of the scales of a serpent. It was worn by the much-loved actress Ellen Terry for her famous portrayal of Lady Macbeth in 1888. The dress was immortalised by the John Singer Sargent portrait of Ellen which is now on display at the Tate Gallery. The dress is now proudly back where it belongs, in a new contemporary display space which also features items from Ellen’s dressing room that have never been shown in public before.

Images copyrighted to the National Trust and restored beetlewing dress, to Zenzie Tinker, Textile Conservator c/o zenzie@zenzietinker.co.uk

MUSEUM OF ST. ALBANS St Albans Museum + Gallery (due to open summer 2018) Town Hall, Market Place, St Peters Street, St Albans AL3 5DJ Tel: tbc Or c/o Verulamium Museum, St Michael’s, St Albans, AL3 4SW. Tel: 01727 751810 www.stalbansmuseums.org.uk Contact: Curator of Collections: Post-Medieval to Contemporary- Sarah Keeling museum@stalbans.gov.uk St Albans Museums costume collection is fairly eclectic. The collection has its origins with the inception of the Hertfordshire County Museum in 1898. As yet to be fully catalogued and photographed it seems that a wide range of historical time periods are reflected from a Tudor embroidered cap, through to some items made in recent decades by local manufacturers. As a local centre for straw hat manufacture, we have examples of straw plait and straw hats, some of which are on display in our gallery at the Museum of St Albans. The strengths of the collection seem to lie in the Victorian costume which is primarily high end. We also have underwear, a vast number of baby bonnets, children’s clothing, shoes and work wear. Our current collecting policy states that ‘…costume shall be collected to provide a broad reflection of social classes of the district, with particular emphasis on male and female working clothes, leisure wear and the products of the City’s clothing manufacturers.’

Dress, printed silk/cotton, c. 1840 (left). Dress, 1860s (right).

Dress (in two parts), mid- to late 1860s (left). Jacket, 1880-1900 (right).

SOUTHEND MUSEUM (The Beecroft Gallery/Central Museum) Victoria Avenue, Southend-on-Sea, Essex SS2 6EW Tel: 01702 212511 www.southendmuseums.co.uk Public opening hours: Tuesday –Saturday: 10 AM – 5 PM Contact: Ciara Phipps, Curatorial Manager (ciaraphipps@southend.gov.uk); Claire Reed, Conservator (clairereed@southend.gov.uk);Iona Farrell, Assistant Curator of Social History (ionafarrell@southend.gov.uk) Southend Museums Service has been acquiring costume as part of its social history collection since opening in the 1970s. Costume has become a major strength of the Service with Costume exhibitions taking place once a year, covering a range of themes. Recent exhibitions have included; BIBA: The Fashion, The Lifestyle, The Brand, Construction: Clothing, Image & Persona, as well as a number of exhibitions showing our wedding costume, beachwear and evening wear collections. The collections’ main strengths are the decades from the 1920s to the 1970s and includes men’s, women’s and children’s costume and accessories of all kinds, but there are important earlier pieces, most notably a rare slap-sole shoe from the 1640s. Not surprisingly, beach wear is a major area of collection: in 2009 Southend received a donation of 500 bathing suits from collector, Mavis Plume. They date from around 1900 to the 1980s and include several rare pieces. This is a nationally important collection and a part of this collection now forms the basis of a touring exhibition, Beauty and the Beach. Museum staff are involved in a number of subject specialist and general networks and are regular contributors to conferences and training events. They follow the highest standards in dress display and mounting and have held many talks and behind the scenes tours of their exemplary costume stores for museum colleagues as well as members of the public.

Silkbias-cuteveningdressc.1930s

Bluestripedtwo-pieceswimsuitc.1949-1955.RedPolka-dotswimsuitc.1950-1955

Slap-soleshoec.1640s

STEYNING MUSEUM 32 Church St, Steyning, West Sussex BN44 3YB Hours: Sunday 2:30–4pm Monday Closed Tuesday 10:30am–4pm Wednesday 10:30am–4pm Thursday Closed Friday 10:30am–4pm Saturday 10:30am–4pm Telephone: 01903 813333 Email: contact@steyningmuseum.org.uk

Steyning Museum is an independent museum run by volunteers and covers local History, archeaology etc with some items of dress included and a large archive of local records and photography, available by appointment. The museum contains a collection of dress, letters, song sheets, records, photos, show scripts, posters that belonged to the comediennes, Elsie and Doris ('Gert and Daisy') Waters. This includes both stage and personal clothing designed for them by the London couturiers Norman Hartnell and Molyneux, with several pairs of matching Hartnell gowns dating between 1943 and 1965 and pairs of hats for the sisters designed by Aage Thaarup ( see dresses woen for shows in WW2 in Burma.)

Museum of Costume, Fashions and Textiles: The Devonshire Collection of Period Costume, Totnes Bogan House 43 High Street Totnes Devon TQ9 5NP Tel. 01803 862857

Opening days and times Tuesday to Friday inclusive 16th May to 29th September 2017 11am to 5pm (last entry 4.30pm); Adults £2-50 Children £1.00 Concessions £2.00 Family £5.50 Guided tour groups £3-50 per personT: 01803 862857 E: info@totnesfashionandtextilesmuseum.org.uk

c/o Alison Alexander, Assistant Curator www.devonmuseums.net www.totnesinformation.co.uk/.../the-museum-of-costume-fashions-and-textiles- -

The Museum houses the Devonshire Collection of Period Costume, a charitable trust, which holds several thousands of items of dress for women, men and children dating from c1650 to the end of the 20th century.

It is located in one of the most intact Tudor merchant’s houses in Tones (in the centre of the Tudor “Butterwalk”) and shows a new, themed exhibition each summer of about 50 outfits. Each exhibition endeavours to demonstrate the social history associated with the garments as well as the fashion, design and technology illustrated by the clothing. Some exhibitions examine a narrow period of time in detail, while others take a recurring theme and follow its evolution over time.

Bogan House, Totnes: Mid 18th century embroidered dress; Fancy dress, Spanish - Italian style but with Chinese embroidery c 1895; Evening dress, mid 1930s; Beach outfit, with shorts, late 1950s.

Sussex Past - Sussex Archaeological Society: Textile and dress . UK. Tel: 01273 474610. The Society was founded in 1846 and exists to promote the study and enjoyment of archaeology and history in the counties of East and West Sussex,. It runs many properties and amongst them are two which contain specific small collections of local dress and textiles, some of it on permanent display. Ann of Cleves House 52 Southover, High Street, Lewes, East Sussex, BN7 JA1 Tel: 01273 474610 Email: anne@sussexpast.co.uk This is a a 15th century timber-framed Wealden hall-house that formed part of Anne's divorce settlement from Henry VIII in 1541. The house contains wide-ranging collections of Sussex interest, including Sussex pottery, a small number of examples of household textiles and dress with the bedroom and kitchen furnished to reflect an earlier period. Check opening times before visiting, especially on a Saturday. Open March to October The Priest House North Lane, West Hoathly, West Sussex, RH19 4PP Tel: 01342 810479 www.thepriestshouse.co.uk/ Email: priest@sussexpast.co.uk Standing in the beautiful surroundings of a traditional cottage garden on the edge of Ashdown Forest, the Priest House is an early 15th century timber-framed hall-house built as an estate office for the Priory of St. Pancras in Lewes to improve the administration of the Manor of the Rectory of West Hoathly In 1905 it was bought by John Godwin King, of Stonelands, West Hoathly. He carefully restored the building & in 1908 opened it to the public, to display his collection of locally gathered artefacts. In 1935 John Godwin King presented The Priest House & its contents to the Sussex Archaeological Society. The House

now contains a varied collection of 17th & 18th century country furniture, ironwork, embroidery & other domestic bygones, displayed in furnished rooms. It is complemented by a colourful cottage garden & small formal herb garden, which contain over 170 culinary, medicinal & household herbs. 'The Suffragette handkerchief' is one of the house's most famous artefacts. It contains sixty-six suffragette embroidered signatures & two sets of initials of suffragettes who joined demonstrations in London in the March 1912. A few were well known as militant members of the WSPU but the majority were rank & file members of the organisation. The handkerchief was probably embroidered during the women’s limited exercise periods, in March 1912 in Holloway Prison,London

Anne of Cleves House The Priest House West Hoathly

TUNBRIDGE WELLS MUSEUM AND ART GALLERY Civic Centre, Mount Pleasant Road, Royal Tunbridge Wells TN1 1JN Tel: 01892 554171 www.tunbridgewellsmuseum.org Public opening hours: Tuesday - Saturday 9.30am - 5pm Closed Bank Holidays Contact: museum@tunbridgewells.gov.uk The discovery of the Chalybeate Spring in 1606 was fundamental in the birth of Tunbridge Wells and its subsequent development as a favoured resort of the gentry and royalty during the seventeen and eighteenth centuries. Many of the donations to the Museum have come from the families of people who settled in the fashionable town and formed the town’s character and reputation as a pleasant place to live, work and visit. The core of Tunbridge Wells Museum’s costume collection was acquired during the 1950s by its dedicated curator, Edith Bradley and includes dress from the 18th century onwards. Now the collection boasts 7,500 pieces including textiles and includes many beautiful evening gowns including a good collection of beaded dresses from the 1920s. Menswear is represented by a good collection of embroidered waistcoats from the Georgian and Regency period, including one unusual black silk example and one with accompanying 18th century receipt. Children's wear, rural work wear, costume accessories, shoes, fans and corsets and other structural wear are all represented in the collection. Also of interest from the textile collection, is a Military quilt sewn by convalescing soldiers of the Crimean War, one of only about a hundred known to exist globally.

WORTHING MUSEUM AND ART GALLERY

Chapel Road, Worthing, Sussex BN11 1HP

Tel: 01903 221 448www.worthingmuseum.co.uk

Public opening hours: Tuesday – Saturday: 10 AM – 5 PM.

Contact: Gerry Connolly, Museum Manager (gerry.connolly@adur- worthing.gov.uk)

Worthing Museum and Art Gallery has collected costume and textiles since it opened in 1908. There are now about 30,000 objects, a few of which are on are permanent display, and others are shown in temporary exhibitions. Within the costume and textiles collection, which take the form of whole garments such as dresses or component parts such as bodices, skirts, underwear etc, as well as accessories including fans, bags, hats, and jewellery., there are also domestic and decorative textiles such as quilts and samplers. The associated ephemera, such as related photographs, letters, paper patterns etc, is a much smaller part of the collection but no less important as it is this that often puts the objects into a social context.

Worthing Museum is a gem – the costume collection is outstanding and extremely diverse. It has truly benefited from the lack of collecting policy in the past in the fact that anything and everything was collected.

The earliest complete piece in the collection is a linen black-work jacket dated c1612. The main bulk of the collection starts from the mid 1800 and the collection is still expanding. The strengths of the collection are 19th-century dress and 20th-century homemade and ready-to-wear. Although the largest part of the collection in women’s wear there is a significant collection of men’s, children’s and infants costume and accessories. The museum houses a series of permanent ground floor galleries whilst exhibitions are held regularly in the temporary exhibition gallery on the first floor.

Dress, fabric embroidered in India, c. 1810-20 (left)

Walking coat, c. 1820-28 (right)

Dress, c. 1838 (left)

Evening dress, c. 1935 (right)

The Dress and Textile History Teaching Collection at the University of Brighton

School of Humanities, University of Brighton, 10/11, Pavilion Parade, Brighton BN2 1RA c/o Hon. Curator, Lou Taylor, Prof. Emerita, This 'hands-on' collection has been created for teaching and research purposes over the last thrity years to match the content of, and to enhance the vitality of teaching methods in the University of Brighton's Faculty of Arts through introducing artefact handling as a teaching resource on BA Fashion and Textile Design, BA Dress and Design History and MA programmes. We place an emphasis on material culture approaches to everyday design and clothing from the mid 18th century onwards. We also examine a range of world dress and contemporary issues of Fair Trade, tourism and sustainability and have a material culture interest in teaching aspects of the design, making, consumption, collecting, display and deterioration of clothing. Our Teaching Collection therefore contains artefacts that relate to these programmes, including examples of everyday and even damaged artefacts that most museums would not accept – included one badly damaged dress from 1775. We have Victoria, Edwardian and 20's- onwards dresses and accessories and a large collection of cotton print designs on paper, 1920-60, by Fielden Royle, a freelance print designers from Manchester. Our collection of world dress and textiles includes a group from West and East Africa, (export print, strip weave, cotton prints consumed in Swaziland but made in South Africa and China, tie-dyed and printed dress from Nigeria and Sierra Leone. We have late 20th kimonos from Japan....... We are working on completing our data base.

See our Dress History Teaching Collection website: http://arts.brighton.ac.uk/re/design-art-history/teaching-collection Gold lamé evening cross over top, , D.H.Evans, London, about 1935 Detail Red silk embroidered coat made in India for export to Europe and America in about 1960 Polyester Bouse, Marks and Spencers, about 1965

MUSEUM OF DOMESTIC DESIGN AND ARCHITECTURE (Middlesex University) 9 Boulevard Drive, Beaufort Park, London, NW9 5HF Tel: 020 8411 5244 www.moda.mdx.ac.uk open by appointment only – please email moda@mdx.ac.uk The Museum of Domestic Design and Architecture holds the Silver Studio Collection containing around 4,000 textile samples dating from the late nineteenth and early twentieth centuries. The Silver Studio (run by the Silver family) was a commercial design practice, based in West London. Between 1880 and 1963 the Studio’s designers completed more than 20,000 designs for items such as furnishing fabrics, wallpapers, tablecloths, rugs and carpets. The Silver Studio employed a number of designers, some of whom were well known in their own right, and others whose work remains anonymous. The Silver Studio’s customers were retailers and manufacturers of wallpapers and textiles both in Britain and abroad. In the course of their work, the Silver Studio’s designers acquired large numbers of textiles and wallpaper samples, some of which they had designed themselves, and others that they acquired for reference. The clients for their textile designs were manufacturers of a wide range of products including silk ties, carpets, rugs, moquettes, chenilles, dress prints, embroidered silks and printed furnishing fabrics. The Silver Studio Collection therefore reflects the wide variety and quality of textiles available to the mass market over a long period. Archival material such as correspondence, diaries and daybooks offer an insight into the complex decision making processes involved in designing for commercial production. The Collection also contains around four hundred Japanese katagami stencils dating from the eighteenth and nineteenth centuries which were acquired by the Silver Studio as reference material but which are now recognised as important in their own right. After it closed in the early 1960s the contents of the Silver Studio were given to the Hornsey College of Art, which subsequently became part of what is now Middlesex University. The Silver Studio Collection is Designated by Arts Council England as a collection that is of national and international quality and significance. The Museum of Domestic Design and Architecture also holds other textiles, acquired subsequently; these are mainly 1950s domestic textiles such as curtain materials. Overall the collections are strong in mass-market and domestic textiles which have not always been routinely acquired elsewhere. A Japanese katagami stencil dating from around 1850-1890, part of a traditional technique for applying pattern to kimono cloth K2.108 (left) A woven silk sample, circa 1904, designed by the Silver Studio probably for Leborgne, a French manufacturer near Lille. The design is in an Art Nouveau style with flowers, leaves and a trellis, in pinks, pale blue, ochre and green, on a cream silk ground ST122 (right)

Cotton fabric with a design of large open poppy-like flower heads in reds, blues and beige, fine meandering stems, feather-like petals and leaves and dotted overlay petals and leaves. An example of a 1920s French Modernist design used for a Liberty dress fabric ST10 (left) A sample of curtain fabric from a house in north London during the 1950s. These brightly coloured curtains were hung in the breakfast room to brighten up an otherwise dark room BADDA4593 (right)

Westminster Menswear Archive University of Westminster, Watford Road, Harrow HA1 3TP

www.mensweararchive.com

Tel: 020 3506 7950

Email: mensweararchive@westminster.ac.uk

Viewing by appointment Monday-Wednesday.

Contact Dr Danielle Sprecher, Menswear Archive Curator.

The Westminster Menswear Archive was established in 2016 as a teaching collection to encourage and develop the study of menswear design from a technical and functional point of view. Currently it has around 1200 pieces but we are actively acquiring so the collection is still growing. The archive is also intended to advance the general knowledge of menswear as a design discipline and to be used as a resource tool to inform contemporary menswear design. Users include students, researchers, academics and members of the menswear design industry who consult the collection for research and design inspiration.

The collection is focussed on pieces from around 1900 to the present day and broadly covers three themes: designer, utilitarian and technical, and military. The archive includes garments from Alexander McQueen, Craig Green, Stone Island, Ralph Lauren, Liam Hodges, Carol Christian Poell, C.P. Company, Jean Paul Gaultier, Kim Jones, Aitor Throup, Vivienne Westwood, Mr Fish, MA.Strum, Burberry, adidas, Nanamica, Belstaff, Barbour, Burberry, Maison Margiela, Jeremy Scott, Vexed Generation, Aquascutum, Levis, Jeremy Scott, Berghaus, Penfield, Griffin, Calvin Klein, and Comme Des Garcons.

Additionally it contains sections of sportswear, hunting clothing, motorbike gear and leather, waterproof garments and coats, protective wear, tailoring, shirts and knitwear. The collection has an extensive range of work wear, utilitarian and uniform garments from the military (army, navy, and air force, combat, and camouflage, ceremonial and dress uniforms) as well as civil uniforms (police, fire fighting, railways, and the post office).

We aim to have a catalogue online during the 2018-19 academic year.

2016.189 Helly Hansen S4158 Equipe Hydrofil Jacket. Nylon and polyurethane outer, Olefin and polyester inner, 1980s (left)

2017.016 Alexander McQueen Glen Plaid Jacket. Wool and polyester, Spring Summer 1998 (right)

2017.292 The Chelsea Cobbler Patchwork Shirt. Silk, 1968-1973 (left) 2017.070 French Leather Firefighter Jacket. Leather, reflective strips, 1986 (right)

FIN