#fashion in detail

Acetate travel souvenir scarf, with machine rolled edges. Cream ground and a yellow border, with ‘SOUTH AUSTRALIA’, maps and motifs in red, green, yellow, purple and black. Signed EDS REG. 5011. The Siddons Scarf Collection, donated by B.M. Barnard.

This scarf depicts the friendliest and cutest animals found in Australia and some of the most striking plants. It is not surprising as one might not want to wrap a scarf showing the funnel web spider or the tiger snake around ones’ neck.

Floral mini dress, 1960s
Label Sparva 

These small flowers look like they have been cut out of different stripy fabrics and stuck together on a stripy background, which is almost invisible. The green and the brown balance the pink and orange nicely.

Woman’s handmade floral pattern dress with drop waist, 1980

This is a more intricate pattern than appears at first glance. Initially the eye is drawn to the dark pink outlines but then one notices the subtle white pattern superimposed on the pinks, blue and grey. It gives you two patterns for the price of one.“

Green flannelette corset, 1900
Image of embroidery detail. A busk front corset produced in 1900. It is made from a heavy green flannelette, which has been lined with brown twill. Part of the Symington Collection of corsetery and swimwear collection. Some of the collection is on display at Snibston Discovery Museum, Coalville or can be viewed by appointment at the Collections Resources Centre

Two types of ribbon and the reinforcement stitching provide the decoration on an otherwise plain corset. The scalloped edged ribbon has been overlapped with a straight edged one. The top stitching used secures the ribbon while strengthening the top edge of the corset

Canada 1867-1967 souvenir scarf
Polyester twill scarf, ‘Travel Memorabilia 1967’. Hand rolled edges. Yellow ground with a 'Canada 1867-1967’ motif and scenes in white, red, blue and green. White edge with a yellow border. The Siddons Scarf Collection, donated by B.M. Barnard

The date on the edge of this scarf gives a clue that it is not just a souvenir of a country but of an event. 1967 was the 100th anniversary of the Canadian Confederation which was celebrated with souvenirs like coins and scarves.

Muslin dress, 1870-73
White polonaise trimmed with mauve bows and ruching with mauve sash and skirt

This lightweight over skirt is fastened loosely with pretty lilac fabric bows. The edges of the fabric have been pinked, with special scissors, to give the zigzag edge. The pinking, while giving a decorative finish ,also prevents the fabric from fraying.

Holland and scenes souvenir scarf 
Polyester twill travel souvenir scarf  with machine turnings. White ground with a ‘Holland and scenes’ motif in blue, pink and beige. The Siddons Scarf Collection, donated by B.M. Barnard.

This scarf has a pastel colour palette and the pale pink outlines mean that some of the detail is lost. It uses the traditional images of tulips and windmills in an uninspiring manner. The blue border gives it definition which is missing elsewhere.

Wallis’ skirt and blouse, 1980s

These dark red, flame-like flowers look a bit like patterns from Turkish or Indian carpets. The flowers are angular, as if having been created on a woven grid. All the pattern is outlined in white to heighten the effect of the dark colours.

Women’s cape, c1900
Grey blanket cloth reversible white striped fringed thick wool

The fuzzy fringing with striped edges gives a very interesting finish to the plain grey side of this cape and picks up the bold stripes on the other side. The fleecy quality of the fabric means it doesn’t fray. Fringing has been popular throughout the world, often used on non-fraying fabrics such as leather or suede garments. Native American dress is one example of how effective this decoration can be on simple shapes.

Souvenir Riviera dei Fiori Scarf
Polyester twill travel souvenir scarf  with machine turnings. White ground with a ‘SOUVENIR RIVIERA dei FIORI’ motif with scenes. The Siddons Scarf Collection, donated by B.M. Barnard.

This Italian scarf uses illustrations of tourist venues in beautiful scrolled frames. The frames are like the gilded Italianate frames used for oil paintings seen in galleries and churches. This type of wearable souvenir would imply that the wearer had visited these foreign places.

Silk chiffon drop waisted dress, c1920s
Yellow, orange and brown floral dress with ruffles and frills at sleeve, waist and yoke with belt

This belt buckle has been carefully chosen to match the dress. It is an unusual shape, almost like little moustaches and combs, and fits neatly at the waist. It is not a heavy duty fastening.

Woman’s bodice, c1890
Black satin net and silver beads, spangles trimmed with cream lace. This is the cuff of this dress 

Although the white lace of this cuff contrasts with the black of the sleeve the floral pattern echoes the flower decoration added to the net. The lace needs no support but the delicate net needs a backing fabric to give the strength required when wearing the fitted bodice

Black front busk corset 1875
Detail of lace and stitching, made of of lasting, cotton twill, and Hessian. It is laced at the back and has a straight, four-stud, metal busk at the front. Part of the Symington Collection of corsetry and swimwear. Some of the collection is on display at Snibston Discovery Museum, Coalville or can be viewed by appointment at the Collections Resources Centre

This very broad band of black cotton lace gives a more delicate touch to the strong pattern created by the yellow sewing on the sturdy black fabric. Its straight edge overlays a thin strip of white scallop-edged lace to give the finishing touch.

Pink and blue floral cotton button through dress, late wartime

The use of little white lines in the shading of this pattern gives an impression of texture although the fabric itself is smooth. It is a reverse of the usual black lines on a white background and is very effective on this small scale pattern.

Printed short sleeve dress, 1941-49
Multi-floral print, thought to be utility wear.

This trailing print has a lightness to it as there is a lot of white background but the line drawings are swamped by the heavy overprinting of green and purple. The delicacy of the flowers clashes with the clumsy painting of stems and leaves.

Summer evening gown with floral print, 1952

The designer has been very clever as this is a very dramatic fabric using mostly pale colours, which is hard to do. The small elements of black stand out against the petals and leaves and are balanced by the solid blue ground

Women’s housecoat, c1935
Crêpe De Chine, blue black and yellow floral pattern

This pattern of Morning Glory is indeed glorious with its profusion of flowers bursting out with bright colour, and even black flowers. Used in the Victorian period for its delicacy and trailing nature, this motif has been radically updated for a 1930s customer who wants modernity.

Ladies jacket white cashmere, lined silk trimmed black and gold braid and edge fringe, c1870.

The lines of this cording provide a wonderful contrast to the plain body of this coat. The pattern follows the different pieces of the garment emphasising the openings which will allow the coat to move as the wearer moves. Subtlety of colour is added due to the cord being bi-coloured which softens the outlines.  Cording decoration became very popular on white women’s dresses of the 1860s, often in black but examples of brown and blue cording can also be found.

Acetate satin travel souvenir scarf, with machined turnings. Green ground with ‘VENEZIA’ and scenes of Veneziain red, black, yellow, tan and blue. Attached label ’ 100% Acetate Madeni Italy. White edge. The Siddons Scarf Collection, donated by B.M. Barnard

This scarf has exactly the same traditional views of Venice as the black and white and blue versions. The strong colouring keeps the drama but it is not as unusual as the black and white version.

Dress with chinoiserie beading on silk chiffon, 1920s.

Although sadly lacking a large number of the beads that make up this charming pattern of pagoda and willow trees its impact can still be seen. The black fabric is in stark contrast to the opaque white beads and the more translucent colours which catch the light.