There is something special about family heirlooms that has nothing to do with monetary value. Somehow in knowing that one of your forbearers wore and valued an item of jewellery it gives you a connection to the past that is quite special. Jewellery is an especially personal item and pearls have been a valued commodity in fashion for many decades. My family were not wealthy and so Great Grandma’s pearls are quality faux pearls not real. Despite their faux status they are actually quite lovely as each pearl has an irregularity to its shape rather than being perfectly round. The pearls also have a creamy lustre with some depth not like modern fake pearls. They may be glass as they are quite heavy and tinkle loudly when dropped into a ceramic bowl.
When they were passed on to me by mother they were as she received them, broken, tied up in knots and fairly soiled. It’s hard to imagine how they came to be in this state. I know that she will have received them when her father died many, many years after the premature death of her mother. I can only imagine that he saw no value in them and they were in the back of a drawer or cupboard for many years since my Great Grandmothers death or at least Nanna’s death. I spent some time gently unraveling the strings before taking this first photo. You can see that the clasp and French wire are corroded and strings broken.
I had to work out the balance of the pearl numbers on each string to achieve the correct design and then restring with silk thread and French wire. Whilst these pearls were not originally individually knotted, as they are quite lovely and to improve their aesthetic I have chosen to restring them in the traditional manner with individual knots between each pearl.
Now I just have to have a think about how to rock three string pearls without actually looking like a Nanna!
I was really hoping my Aunt who is the keeper of old photographs in our family might be able to find a photo of Great Grandma in her pearls to accompany this post. Alas, none is to be found. Perhaps I should add a photo of one of my daughters wearing them in time. That would be fitting.
I am ashamed to admit I bought this sweet little purse ages ago. No I really mean ages… I am pretty sure it was in the late 80’s early 90’s. It was in this state at the time and I bought it intending to refurbish its vintage goodness. Ah well, time has ticked on and it has never quite made it to the top of my priority list, until now. I am sooooooooo pleased though that I have finally had an excuse to put aside the time to attend to it. Finding beads wasn’t too difficult although I did have to compromise. I feel fairly certain the original bead was a size 10 and the closest I could get was size 11. The shape is also slightly different. The original bead is more like a doughnut where as the replacement is a bit fuller. I think it is ok though. It can now be used!
You can see that the old thread is slowly rotting away and this job required securing loose beads as well as rebuilding the original design as closely as I could ascertain from the barely visible stitching marks in the satin. It took a little time but I think well worth it.
After the beading and cleaning is finished, a very gentle manipulation and some steam to restore its original shape and voila, time to get out into society again.
“Really?…. A corset! Well yes, but candy pink satin?…Are you sure?”
“Trust me!” I say…
and trust me she did.
My dear friend Juliet had very kindly agreed to collaborate with me on a passion project that has been formulating in the back of my head for some time now. She was the perfect collaborator: enthusiastic, highly imaginative with a great sense of fun. Now I can’t reveal the project at the moment, its still under wraps but I can and wanted to share a small part of it which I like to call “Building Boudicea”.
For this project Juliet and I needed to develop a costume for her to wear, this costume (for reasons I shan’t as yet go into) would be a deeply personal take on the British Celtic heroine Boudicea*. I’d like to emphasise here that this costume was never intended to be historically accurate, it is intended to be a physical representation of psychological notions.
The main constraint I had with this costume was time, closely followed by budget. I needed to come up with an outfit that deeply resonated with Juliet as well as communicating ‘modern day Boudicea’ to others in a couple of days. Our starting point was a beautiful velvet blue, black and grey animal print dress that Juliet had purchased many years ago, absolutely adored yet had never found opportunity to wear. Juliet also owned a short cape that was just perfect, a very traditional style of wool in burgundy and rust as well as a belt that we had purchased together during a personal styling session that has become a fast favourite. We talked about Celtic tattoos, arm bands, armour, spines and wild tribal hair.
As I went off to contemplate our discussion, the notion of armour really stuck with me. It’s likely of course that Boudicea did not wear armour, although in some imaginings of her she is pictured with armour. Her adversaries, the Romans, would have worn upper body armour with helmets and shields. Boudicea, is more likely to have been wearing a simple tunic, and cloak.
However, the notion of our Boudicea taking an item of clothing which has one particular set of social connotations and converting into something totally different, more wild, wilful and empowered, rather appealed to me. Somehow in the conversion from one to the other the item is imbued with greater power and the wearer ownership of the. Off I went to a local charity store and as luck would have it, exactly the item I was looking for was there loitering, just waiting for me to find it.
A cheaply made, candy pink satin corset. In my experience there is likely to be two main types of responses to this kind of an item. Those that see corsetry as a tool for the suppression and control of women: restrictive, unhealthy, painful, sexualised and controlled. The other group (which includes women), see modern day corsetry as empowering: Women embracing their history, owning their femininity and sexual appeal. In truth, I probably have a foot in both camps, but in cheap, candy pink satin I feel this corset sits in the first camp.
So the idea of taking this item, that to me is symbolic of women being sexualised and objectified to suit the whims of men, into an item that appears to provide protection and preparation for a woman going into battle to protect her people, provides a psychological meaning that has deep satisfaction. A notion too that is perfect for our modern day Boudicea – Juliet.
So the conversion began:
The finished Boudicea body armour front and back. No longer apt to call it a corset.
So here is a teensy weeny sneak peek of some of the elements together. I’d love to show you the whole thing, but best not. For now anyway.
We were both so pleased with how it came out. We had enormous fun creating it and the project was a really fascinating, emotionally empowering experience for both of us. Please keep your fingers crossed that all works out and I get more opportunities to produce work of this nature.
*Boudicea has many versions of her name by which she is known including Boudica, Boudicca, Boadicea and Buddug.
Boudicea, who died in cAD6, was a queen of the British Celtic Iceni tribe. Legend has it that she rallied her people to fight the Roman conquerors in retaliation for suppression and abuse. She is believed to have been mercenary and blood thirsty in her treatment of the enemy, yet is upheld as a heroine, protector and defender of her people.
Unfortunately by the time you are reading this, the exhibition will be over! Ah well. Due to other commitments both professional and personal I have not managed to get this post published in a timely manner. Never mind.
It was a lovely little exhibition held by the City of Glen Eira as part of their Story Telling Festival and I believe they were very happy with its patronage. The exhibition featured items from the collections of Nicole Jenkins of Circa Vintage, the National Gallery of Victoria, Diane Masters, Di Riedie of Brighton Historical Society and the Brighton Historical Society amongst others. I was very pleased to contribute to facilitating this arrangement on behalf of the Brighton Historical Society.
Diane Masters, a popular mannequin (model) of the day gave a lovely floor talk where she shared some of her very fond memories of the time. I was particularly struck by the stories she told of her good friend Hall Ludlow and the journey his life took from abandonment in an orphanage, through menial service jobs to creating his own fantastic career as a couturier. Over here you can read more from Diane Masters on Hall Ludlow.
Nicole Jenkins also spoke which reports tell me was also fascinating. Sadly I could not attend that event as I believe that Nicole is a veritable fountain of knowledge.
The following pieces were selected by the Glen Eira curator, Diane Soumilas, from the BHS collection for inclusion in the exhibition. With each piece I have included some notes and links that I have recently sourced, just the beginnings of research that might help anyone looking to learn more information about these labels.This collection is important to me as I am fascinated by the snapshot it provides of one particular community, as well as contributing to our broader social history in exhibitions such as this. It holds some interesting pieces which I hope to illustrate to you here. Further research is definitely required for full histories of items and makers.
A Colman Hat
A rather smart black raffia and diamante hat. Whilst the hat appears to be of Irish origin, as with all of our non provenanced items its presence in the collection suggests that it was owned and worn by a resident of the Brighton area.
With no real maker information to go on and judging purely by style I estimate this piece to have been made in the early 1950’s.
UPDATE: July 18th
I have been in at the society today putting away returns and in the process discovered two hats that have put a different perspective on things.
The way this hat is labelled indicates to me that potentially Colman hats may have been made especially for David Jones, Sydney for the local market. The first Colman hat may have similar provenance. Some unknown person has written 1960 and V. Vetra on the label which I suspect may have happened when it was initially donated to the society.
This hat has been labelled in a similar fashion. The only Horne I have found thus far is an American brand from the 1930’s in Pittsburg. I remain curious as to why this hat is labelled this way. Would love to hear from anyone who can fill me in further!
Harbig: Melbourne, New York, Paris
This sweet little floral piece is believed to have been made by Harbig Products of Melbourne. I have not yet unearthed any information to explain the use of the words New York and Paris on the label and would be fascinated to hear if more! Although I did find this news report
News of next winter hat fashions was brought back by Melbourne manufacturers, Mr. and Mrs. Richard Harbig, when they returned by B.C.P.A. DC6 last night after four months in America and the Continent studying materials that will be needed for next season’s hats. They predicted: Shapes: Head-hugging cloches to suit short hair, cut away at the back to clear high collars, and built up and out at the front to give height. Materials! Felts, velours, velvets, and a new long-haired fur fabric, flamond. Colours: Muted pastels, few jewel shades, and no vivid colours. Trimmings: Little veiling, hut feathers and feathers and feathers.
that at least indicates that the Harbig’s were spending substantial amounts of time abroad. It is both head hugging and muted pastel and I therefore I feel we can safely date it to c1950.
I also found these job advertisements for positions at Harbigs, which I find interesting. These professions exist these days in such a completely different manner. In the past you could make a career in a millinery factory in Melbourne. Today most milliners in Australia are skilled artisans working alone or in very small companies, often working across a variety of fields including teaching, fashion, and costume industries. My maternal grand mother was a milliner, finding these job advertisements has had me thinking about finding out more about her professional experiences.
This ad from The Age July 5th 1961 advertisers for urgently required experienced milliners to do work from home.
In The Age Melbourne, Saturday June 22nd 1963 in the ‘millinery packing room’ at 1 Drill Street Hawthorn and Wednesday August 19th 1964 for “experienced, part experienced or learners, woman wanted for modern millinery department…an interesting and well paid trade’
Hicks Atkinson Melbourne
This dashing black silk velvet and straw hat is by Hicks Atkinson and Sons, Pty Ltd, Collins St, Melbourne. Hicks Atkinson Department Store operated from 1911 until 1963 and both retailed the designs of others as well as commissioning exclusive product. This store was in operation at the time when department stores were at the height of their popularity and this part of Melbourne was a shopping hub with a substantial number of luxury stores.
Judging by its style this piece is most likely to have been made in the early to mid 1950’s.
Mary H Thomas: Wattletree Rd East Malvern. Phone 505347
A silk velvet and net leaf hat. Unfortunately I have not been able thus far to find any further information regarding this milliner. My assumption is that she may have been a small artisan or couturier milliner, with a smaller less established business. I would love to hear from anyone who could offer me any information regarding her.
A frothy concoction of net, wire and paper featured above is a hat bearing the label Nance Bannon.
In my investigations online I have found a number of references to a society lady Miss Nance Bannon with dates in the mid 1930’s. One of these was on Trove, The National Library of Australia’s digital resource. Trove has a number of newspaper articles featuring promotions of Nance Bannon’s millinery from the newspapers similar to the ones I have linked to below. As yet I am not sure if this society lady in the mid 1930’s is the same Nance Bannon as the 1950’s and on milliner but it seems likely. Miss Nance Bannon is third from the left in the central photograph.
Trove has numerous 1950’s digitised newspapers featuring ‘advertorial’ for Nance Bannon and her millinery. Articles from both South Australian and Victorian newspapers are featured. It would appear that whilst she was based in Melbourne she may have regularly travelled to Adelaide to show her wares.
Over here you can find two ads from The Age Melbourne Saturday Jan 14 1956 in which Nance Bannon advertises millinery positions: .
Milliner, exp.. model work. Nance Bannon, 174 Collins sc.
“TVfILLINERY, ‘improvers and AP-iTX prentee, Nance Bannon, 174 UQ1IUU bl
This second job description seems quite baffling! I suspect the ad is supposed to read “millinery improvers and apprentice”?
These ads indicate that in 1956 Nance Bannon appears to have been located at 174 Collins St Melbourne.
In this Age newspaper story in 1961 featuring three Autumn / Winter collection hats and again in this story in 1966, in The Age newspaper that features from August 3rd 1966 of four hats from Nance Bannon’s spring collection indicates that she is now located in South Yarra .
In this Age newspaper story from August 9th 1967 we see Nance Bannon featured again (my, she was popular).
From looking at the styles of these hats, the dates of her work, and her business address I estimate this hat to be c 1956 – 1961.
An aqua blue rayon wrapped ribbon turban from the late 1950’s. However, it is of note that the label on the hat looks more modern than the label on the dress. Hence the hat even date into the early 60’s. Please note the colour in the label image is more accurate.
The fashion label Misses Mooney was operated by two sisters from the premises at 189 Collins Street Melbourne. The label was established in 1932 and closed in 1972. It is unclear if it operated from this address for the entire time. There is little information available regarding this label, although at that time this part of Collins Street held a thriving industry of dressmakers and associated trades. The Powerhouse Museum in Sydney holds a Misses Mooney ensemble with some useful contextual information here.
The Brighton Historical Society has a former volunteer who once worked for Misses Mooney who provided an oral history she called ‘Memories of Another Era’. This oral history can be accessed by contacting Brighton Historical Society.
The following are some points of interest from her history from her time working for the Mooney’s c1944 – 46.
- The business Misses Mooney was owned by two sisters Nell and Ida Mooney, situated in a very narrow shop front beside The Regent Theatre in Collins Street Melbourne and open five and a half days per week.
- Above the shop on the first floor worked four seamstresses plus a supervisor Miss Foulds in cramped conditions.
- Miss Foulds also attended to the fittings of garments with clients and any alterations when necessary.
- Further up Collins St in a seperate building on the third floor and in cramped workroom conditions were three machinists who made garments for special clients. Wages were approx. 2 pounds for a 40 hour week.
- This lady recalls working 44hr days with Ida. Work began at 8am until 5 pm with 1/2 hour for lunch.
- Close to this workroom was a milliner Dorothy Gringod, a “sprightly, friendly lady” who created the headwear and supplied the Mooney’s shop with some of her creations. Dorothy would make headwear for the girls from Miss Mooney’s at half price when they needed something for an event.
- This lady recalls seeing Japanese prisoners of war being driven up Collins St past the store as she was out getting lunches.
Brighton also holds a beautiful 1950’s Misses Mooney dress not featured in this exhibition
Raoul Couture Dress
A stunning cream silk and lace creation of pleating, ruching and delicate construction this Raoul couture dress is just lovely, and rather tiny. Raoul couture was a highly respected fashion house based in Flinders Lane, Melbourne from c 1955 until 1963. Head designer Leonard Legge later worked for another prominent Australian designer Prue Acton.
Till next time….
Its trivial, frippery. Right? Hmm, No.
Fashion may seem trivial but clothing’s ability to transform a person, and communicate a message is something most powerful and deeply rooted in human culture and psychology.
Based on the best-selling novel by Rosalie Ham, now a major multi award winning film starring Kate Winslet, Liam Hemsworth, Judy Davis, and Hugo Weaving as well as a veritable who’s who of Australian talent in the supporting cast, adeptly illustrates the power of clothing as a tool for manipulation and ultimately revenge.
“The Dressmaker is a bittersweet, comedy-drama set in early 1950s Australia. Tilly Dunnage (Winslet), a beautiful and talented misfit, after many years working as a dressmaker in exclusive Parisian fashion houses, returns home to the tiny middle-of-nowhere town of Dungatar to right the wrongs of the past. Not only does she reconcile with her ailing, eccentric mother Molly (Davis) and unexpectedly falls in love with the pure-hearted Teddy (Hemsworth), but armed with her sewing machine and incredible sense of style, she transforms the women of the town and in doing so gets sweet revenge on those who did her wrong.”
Last night I was fortunate enough to attend the preview of the opening of The Dressmaker Costume Exhibition at The National Trust Victoria’s beautiful Rippon Lea Estate. My invitation was on behalf of my friend Erica of recycled-fashion.com and Nuffnang. Many thanks, it was fab!
Now anyone who knows me or reads these pages regularly will know that this subject matter goes right to the core of who I am and what I’m passionate about. One of the highlights for me was a speech given by Rosalie Ham. Read More
Can you hear it? Listen for it, after Marion’s laugh. It is the unique sound of beautiful sequinned lace, rustling as it moves, almost like soft rain on a tin roof.
It is a sound that Marion Boyce, award winning Costume designer of crime series Miss Fisher’s Murder Mysteries and feature film The Dressmaker is passionately keen to share with others. For Marion, the sound and feel of a garment is just as important as how it looks, creating a sensual feast of nostalgia, beauty and joy.
It is early evening and I have had the great pleasure of accompanying Erica of recycled-fashion.com to meet Marion and experience the new accessories designed for her Miss Fisher Collection – Marion Boyce. Even better, our meet and greet takes place at dusk in the beautiful grand Victorian National Trust owned Labassa Mansion.
Its not hard at all to comprehend that Marion has a great deal of love for both the fashions of the late 1920’s early 30’s and the 1950’s particularly Dior’s New Look. All fashion is representative of the time in which it evolved, and in this instance both periods were times of celebration, and new horizons coming out of the hardship of World Wars. This joy manifested in beautiful fabrics, innovative cutting, essentially clothing as art. Marion’s passion for these periods is evident in the meticulous and loving detail of the garments of the Miss Fisher series set in the 1920’s, The Dressmaker set in the 1950’s and now The Miss Fisher Collection. Read More
2015 was my first White Night. It was a steaming hot night and I was blown away by the heady experience of truly amazing art, massive happy friendly crowds and the marathon effort to try and take in as much as possible before the sun rose again. This year I really wanted to take my family, so had thought that we would just be there for a few hours. A few hours turned out to be seven with the kids heading home around 1.30 am. They had had an absolutely brilliant time. Traipsing the streets, a gaggle of tweens with arms locked together thoroughly enjoying the art and adventure. After sending them home, a friend and I soldiered on… there were still important experiences to be had before the night could wane.
Personally I wanted to see The Dresses.
Here is the artist’s statement taken from the White Night website.
“French artist Tae Gon Kim’s ethereal work, The Dresses shapes hundreds of fibre-optic strands into the form of three beautiful and extravagant gowns suspended in darkness – apparitions, shimmering from the realms of fantasy. Slowly the illuminated optical fibre in each dress changes colour, symbolising its history and transformation over time. Each of the dresses weaves its own story of relationships, love and intimacy – inviting adoration and adornment alongside immersion and transformation.”
Human beings wear clothes, and these clothes are imbued with a sense of the physical body but also the spirit of the person even once the clothes remain and the person has moved on. The light in these dress forms also gave me a sense of being a network of blood and veins. The changing colours being reminiscent of the changes in physical character of an individual over time. These veins were like the skeleton, left behind after the passing of the creature. Speaking to us of the life that once was, now passed.
Well worth missing out on that extra hour of sleep.
Looking forward to White Night 2017. C U There.
Here are some further extracts from the White Night website regarding the festival and the artist. For more information visit the White Night Website.
Tae Gon Kim is an artist from South Korea who lives in Strasbourg, France. A draughtsman and a designer. Tae Gon Kim translates emotions into technical statements”
“White Night (Nuit Blanche) was originally conceived in Paris in 2002. Since its inception Nuit Blanche has inspired an international network of White Night events in more than 20 cities around the world, creating a tailored event that reflects the city’s distinct passions and characteristics.”
Now I personally (in hindsight – I was a little taken a back at the time) think she should be applauded for being so comfortable in her own skin. There is no way I ever could have walked around like that. Yet she was clearly completely comfortable and unapologetic. Realistically, it would be amazing if we were all as comfortable and accepting of ourselves as she appeared to be. Another part of this I find interesting is that we are all quite accustomed to seeing complete strangers nearly naked in media and advertising. Whilst I do recall hearing of the odd billboard that has been forcibly removed due to the nature of its content being potentially incompatible with safe driving practices, in general we still see a fair amount of skin in every day life, out and about. But it is sooo different when it is hot, sweaty, and jiggling next to you, isn’t it?
I listened for an accent too – Australian. Reason being for this is when I Iived in Bondi years ago I would see many tourists similarly clad (or unclad!) fairly regularly, also when I traveled through the Mediterranean regions. This just illustrates how different cultures have different unwritten codes around what is the social norm. Yet we all have them. We have them because these codes provide a degree of comfort to the majority. But society and social conventions are constantly evolving. I remember when I was a small girl that it was very common to see males walking around with no shirt on. Now with our understanding of skin cancer that it relatively rare, although not exactly head turning. I hope she had tons of sunscreen on!
So what if this had of been a guy? Walking around in one of those European man-style thong bathers? Now that would have turned heads!
I consider myself to be relatively in the middle of the spectrum when it comes to my own body image. As a child, teenager and in my twenties I spent more time thinking about my body shape than I do now. I think that’s probably pretty normal. Whilst I have always stressed about the size of my thighs, my lack of a waistline and heavy arms, I never got involved in dieting to extremes, somehow still having an inner picture that whilst I didn’t look like a model, I was still ok.
I started working out in the school gym as soon as it became available. This was partly due to a shy nature, it was a good way to keep myself occupied in a constructive way at lunch times, and partly due to the threats of one of our sports teachers. I will never forget Miss Moore. Athletic, deeply bronzed olive skin, petite in height and frame, swinging thick black hair and a take no prisoners attitude. Intimidating in many ways. I’m sure she had good intentions. However when she told my year 11 class that in her experience and opinion by the time we were a year or two out of secondary school most of us would be overweight and unhealthy and it was all down hill from there, I was alarmed. As a young woman with increasing body consciousness it struck fear deep into my heart.
I developed an unhealthy and unrealistic vision of the body that I wanted to achieve and started working out. Now when I say the body is unrealistic and unhealthy, well that all depends upon your perspective. If I was able to achieve that body, I feel quite sure that I would be very healthy and fit. However from the starting point that I had, and my genetic make up, it would take a good deal of hard work, dedication and discipline.
Over the years I have realized that whilst I have continued to work out, take care of my health and desire to improve my health and physique, I have never had the depth of desire that would drive the levels of effort and discipline necessary to achieve that body.
In the mean time I have traveled, worked, played and generally lived. A lot of the time there were elements of life that negatively contributed to the state of my health or fitness. Late nights, unhealthy meals, alcohol etc. All very normal, nothing extreme, but all an important part of my journey.
In my late twenties and early thirties I had children and whooo man. What a challenge that can be! I became enormous! With the first pregnancy, I was comfort eating for two, in shock about the impending changes to my life. With number two, well I never really lost a lot of the weight from the first pregnancy and then she was a huge baby. So by the time I had finished pregnancies, births and breast feeding my body barely resembled my body from before.
I found this time immensely challenging. I was exhausted, over weight and to be honest depressed. Around this time, I trained as an Image consultant. Learning about body shape and creating a more desirable body shape through clothing spurred on my desire to change, this time with a different focus on maximizing my ability to dress the way I wanted to. In my head it was less about my health and more about my perfectionism in crafting a look.
After a few years with this approach I started to become aware of the messages I was passing on to my girls. Some of the thoughts that emitted their lips alarmed me. In respect of them, I won’t share but it made me rethink some of my choices in life.
Over time I believe I have managed to get myself back into exercise and an acceptable level of fitness. I have been very fortunate to have the support and encouragement of not only a great partner but some wonderful fitness professionals. I no longer hit the gym five times a week, realistically I only manage three at best. But I believe my attitude to my fitness and my body is more sustainable.
However, I am no pin up girl. I still have a considerable spare tyre around my waistline as well as excess kilos all over. What has changed is that I now accept that. I know that I could be fitter and slimmer and have a pretty clear concept of what would be required of me to get there. I continue to look after my diet and exercise but what has changed is the nasty little voice in my head has got quieter.
So here is the thing that has subdued that nasty little voice.
I have two beautiful, intelligent, delightful daughters. Like most mothers I try to be the best role model I can, to guide and encourage them to recognize and value their uniqueness and to understand and accept the diversity of people in their world. I have tried hard to raise them with a healthy diet and a healthy attitude to sleep, exercise, food, indulgence etc etc.
But what they have given me through no fault or intention of their own is acceptance of myself. In my experience most parents at some point realize that their children are fundamentally different from one another. Whether that be through genetics or environment and a desire to differentiate themselves from one another and their parents, over time they develop their own interests, personalities and…. physiques.
My girls are both lean and muscular. Not highly motivated in competitive team sports but both very active and more interested in personal goals and achievements. One has definitely inherited genetics from her father with a very small frame, lean muscle and little body fat. The other, it’s harder to pinpoint but she is also developing a lean muscular frame. The differences in their frame were pointed out to me by a pediatrician when they were 3.5 and 2 years respectively and I struggled to see the difference at the time. Now its obvious.
The point is they are who and what they are as a result of many different factors, genetic and environmental. Despite living in the same house, with the same food and parents they are increasingly different. They are both just as beautiful, healthy and lovely as one another. Just different. And so am I.
To finish, as a women there also comes a time that when you realize that if your very slim, narrow hipped, 13 year old has moved into size 8 ladies jeans, then it is perfectly reasonable that your 40 something, curvaceous, muscular, post two children butt will best be accommodated in something substantially larger. And that’s OK.
Over the last two years Jo Jenkinson has quietly but doggedly worked away on her new book ‘The Lure of The Beach’ a history of sea bathing in Brighton.
Published with the aid of a Local History Grant from The Victorian State Government, it relates stories including the days of the early horse drawn bathing machines, debates over decency on the beach, competitive and leisure swimming at Brighton and most popularly the brightly coloured bathing boxes that dot the shoreline.
For the launch of the book Di Reidie, society president and I, had a delightful time digging through the archives finding vintage gems to display. Sadly, many of the best fashion gems did not make it to the floor, as it was preferable to include as many items with provenance as possible, as well as limited time, and mannequins. However, having had a chance to familiarize myself with some of the wonderful pieces, from circa 1900 until the late 1980’s, I would love to be able to put together a proper more exhaustive exhibition.
If your looking for swimsuit inspiration, make sure you make an appointment to visit the collection.
Copies of The Lure of The Beach are available directly from Brighton Historical Society or from selected bookstores. (hint – particularly in Brighton). See the website below for opening hours.
Bathing Costume details
Collage One (Top of page), from left to right:
1920’s swimsuit. Black Wool with lace up front and cross over back straps. Worn by Jessie Dell of Hampton. Donated by Merilyn Case.
1960’s Watersun swimsuit and white rubber bathing cap. Blue bri-nylon with built in bra. Worn by Katherine Blair of Brighton. Donated by Katherine Blair.
1970’s Watersun gold lame swimsuit with matching cape. Made in Australia.
Circa 1900 black cotton two piece swimsuit.
1930’s Black Lance swimsuit. Blue ribbed wool with cross over and tie up back straps. Worn by Dorothy Wells of East Brighton. Donated by Dr. William and Helen Wells.
Circa 1970’s black and silver lurex swimsuit and cover up.
Collage Two, left to right:
Circa 1960’s red and white striped bathing cap, bathing bra and trunks
Circa 1970’s Watersun three piece green cotton beach ensemble including embroidered skirt, bolero top and swim bra.
Circa 1970’s black and white zebra print two piece swimsuit.
Circa 1970’s turquoise hounds tooth two piece swimsuit
1940’s Cotton multi coloured floral beach play suit. Worn by Jean Jennings. Donated by Nola Jennings.
Circa 1970’s multi coloured two piece swimsuit.