What We Wore Then

Philipsborn, Fall-Winter 1909

2012-03-05T16:42:00.000-08:00

... And with more rainclouds looming, it seems appropriate to go back to the beginning of last century and post some pictures of raincoats. These utilitarian garments are smartly designed, though I suspect they wouldn't have looked quite so elegant in real life. As for the hats the models are wearing - oh dear! They appear most impractical as rain wear. Can you imagine what would happen to those feathers in a downpour?

Lana Lobell, Fall 1967

2012-03-04T21:03:00.000-08:00

Once more on the theme of autumn: this simple knit dress from 1967. It looks like it would have been perfect for those in-between fall days!

Myer Festival of Fashion, 1978

2012-03-02T22:32:00.001-08:00

Autumn has officially started in Australia, and outside my window it is wet and miserable with rain, rain and more rain forecast for the weekend. To cheer myself up I've decided to post a scan of this catalogue cover full of warm Earth tones from Autumn 1978. It was originally published by Myer - an Australian department store - as a supplement to the Adelaide Advertiser of February the 27th, 1978. Locals can probably spot that it was shot on location at the Adelaide Festival Centre!

Harper's Bazaar, November 1947

2012-02-28T17:42:00.000-08:00

This roomy winter coat adorns the cover of the British edition of Harper's Bazaar, but as the country was still very much in the grip of clothes rationing it is doubtful that many women were able to afford a garment like this. Life must have been difficult for glossy publications like Harper's Bazaar during the forties: devoted to fashion, frivolity and conspicuous consumption they found themselves in a world very short of all these commodities. Still, their readership could always dream. This issue contained lots of fashions in the style of Dior's New Look - glamorous and not-quite obtainable!

Golden Hands, July 1975

2012-02-16T20:25:00.000-08:00

Oh, what typically '70s trousers! High-waisted and tight at the top, they flare out until they almost cover the wearer's feet at the bottom. They are worn with a blouse with a pussy-cat bow - a style that remained a conservative staple for work or daytime formal wear through the 1980s.

Flair, 1956

2012-02-09T15:25:00.000-08:00

And here we have the Australian version of Flair. This issue celebrates the Melbourne Olympics of 1956. By all accounts it was a simpler time: the opening ceremony was less a spectacular than an actual ceremony, and it was much easier to get in to see the events!

Elegance, August 1967

2012-02-02T17:35:00.000-08:00

Elegance was the title given to the Australian and New Zealand edition of Flair, which was published in London. This should not be confused with Flair which was published in Sydney - no doubt why the London Flair was called Elegance in Australia!

Whatever. It certainly doesn't stop the models on the cover being very mod and up to the minute - and while they aren't exactly "elegant" they certainly epitomise Swinging London!

Delineator, May 1933

2012-01-27T01:06:00.000-08:00

This pretty outfit was drawn by Dynevor Rhys and designed for the Delineator by Goupy, "a Paris house that specialize[d] in garden party frocks". The dress was "made in pink organza (silk organdy) with a belt of black velvet ribbon" and the hat was made from "fine Italian straw".

Celanese, 1960

2012-01-14T23:51:00.000-08:00

These leaflets were included in an insert in the Summer 1960 issue of McCall's Pattern Fashions. They were intended to advertise the latest "Celanese" materials available to home dressmakers - as made up in McCall's patterns. The evening dress above is made in "leaf-printed satin of pure Celanese acetate", while the suit below is made of "Fabrex flannel of Arnel tricatetate and rayon".

Butterick Pattern Book, Summer 1954

2012-01-12T22:55:00.000-08:00

These ladies are the picture of '50s domesticity in their summer cottons. The photographer has even posed them behind a white picket fence!

Australian Home Journal, February 1942

2012-01-08T17:33:00.000-08:00

Included in this issue of The Australian Home Journal were patterns for three "frocks" (including one shirtwaist, a fashionable mid-century standby). Clothes rationing had yet to be introduced in Australia, and the dresses are cut on noticeably more generous lines cut than they would be a couple of years later in the war.

National Suit & Cloak Company, Summer 1912

2012-01-01T22:44:00.000-08:00

Goodbye 2011! And Hullo, 2012. In honour of the New Year, I'm posting a page from the National Suit & Cloak Co.'s summer 1912 catalogue. All the suits you see pictured above were made-to-measure, and cost the buyer from $13.50 for the cheapest suit in the cheapest material, up to $31.50 for the most expensive suit made in black satin!

New Idea, May 1903 (#3)

2011-12-31T03:22:00.000-08:00

And so we come to the end of another year. Since it's the Southern summer, and the weather has at last decided to warm up, I bring you - bathing costumes from 1903!

Fashion in Photographs, 1860-1880 by Miles Lambert

2011-12-27T21:02:00.000-08:00

This book was published in 1991, and alas is no longer in print. (One of the few problems I have with Batsford is that their publications never seem to stay in print for long.) However if you can find a copy of it secondhand, I would recommend it.

Its contents are as stated on the cover - fashions as they appear in photographs from 1860 to 1880. The book draws on the National Portrait Gallery in London as its source, so the pictures are heavily biased toward the rich and the famous - but then again, so are most histories of fashion. This one at least gives the reader some idea how the clothes of the era actually looked when worn, rather than how they appeared in idealised fashion plates. (But watch out for re-touched photographs - people tampered with images long before the invention of Photoshop!)

The book is divided by decade, and further subdivided into "Men", "Women" and "Groups". Each photograph has a lengthy caption that tells you something about the sitters, and describes the clothes they are wearing. The author quotes extensively from contemporary periodicals in order to demonstrate how the fashion advice of the era translated into actual garments.

I've just one bone to pick - the book seems to be slanted toward the 1860s, with much more space and many more examples being given to the former decade than the latter. Either this bias is built into the National Portrait Gallery's collections, or Mr Lambert was more interested in the 1860s than the 1870s. Whatever the reason, it gives Fashion in Photographs a lopsided feel, and under-represents an interesting era in dress.

Published: London: Batsford, 1991.
ISBN 07134 6392 9

McCalls, February 1914

2011-12-21T16:43:00.000-08:00

Merry Christmas everyone!

The caption to this picture describes these costumes as "Advanced In Appearance, But Really Conservative In Cut". Clearly the fashions that were coming in during the 1910s made some women uneasy - which is fair enough, because here we see the beginning of a fashion revolution. The most obvious change is the lack of conspicuous corsetry (though women did in fact wear figure moulding "foundation garments" well into the 1960s). For nearly a century women had given themselves artificial "hour-glass" figures by wearing tightly-laced corsets. By 1914, however, this had given way to a more "natural" look - albeit a youthful one which older women had to work to maintain!

The "National" Money Saving Style Book, Spring & Summer 1921

2011-12-18T15:20:00.000-08:00

This catalogue is a recent acquisition, chock full of delightful illustrations! Unfortunately I can't scan as many of them as I would like without damaging the binding, so I'm limited in what I can share with you.

The National Suit and Cloak Company chose to put a fairly simple checked gingham "tub dress" on the cover of its 1921 summer catalogue. Its lines are typical of the early twenties - loose fitting, but with the waist at its natural level and drapery around the hips. The look was rather fussier than what came later, and probably distinctly unflattering to the middle aged!

Madame Weigel's Journal of Fashion, June 1934

2011-12-13T01:04:00.000-08:00

The above picture is captioned - rather quaintly - as "Lady's and Maid's Tunic, in Two Styles". The description continues:

Tunics now play a very important part in the world of fashion. They are equally popular for day or evening wear. The long-sleeved tunic has a pleated girdle at the waist. The shorter tunic is made with sleeve cowls. Both may be made in velvet, lame, satin, etc.

"Madame" Weigel - actually Johanna Weigel and her husband Oscar - started selling their own dressmaking patterns in Melbourne in the late 1870s. Before coming to Australia Johanna had been a designer for McCall's in New York, and her experience there gave her the style and professionalism she brought to the Weigel's brand. Oscar and Johanna launched their Journal of Fashion in 1880 as a showcase for their patterns, and the magazine continued at least until the early 1950s. Weigel's remained in business producing patterns for home dressmakers until the end of the 1960s.

Vogue First-of-the-Month Collection, December 1946

2011-12-05T03:07:00.000-08:00

A 'One-piece dress and jacket,"Easy-to-Make"', courtesy of Vogue Patterns. Interestingly, this is clearly a summer dress - though it appears on the cover of a catalogue published in the U.S.A. in the middle of the northern winter. Perhaps Vogue intended it to be made by those lucky souls who could afford to holiday in warmer climes - or perhaps it was aimed at slow amateur dressmakers who would need six months lead time to be ready for summer!

Good Neighbor Club Plan, Spring and Summer 1954

2011-11-27T22:23:00.000-08:00

Featured on the cover of this catalogue are some very ladylike outfits available through the "Good Neighbor Club Plan". The catalogue also contained several pages of "free gifts" that could be selected if one bought more than a certain amount from its pages.

Flair, March 1964

2011-11-19T21:52:00.000-08:00

March 1964, and Flair presents an up-to-the-minute ensemble all in white - white cap, white coat, white dress, and white knee length boots.

However, I wonder ... did anyone ever wear clothes like this outside of a fashion shoot? White is easily soiled, and the outfit is described inside the magazine as being made of pure wool. One can imagine the poor wearer constantly having to take her coat and dress back and forth to the dry cleaners. (Imagine the bills!)

Golden Hands Monthly, June 1974

2011-11-16T23:08:00.000-08:00

My 100th post!

Golden Hands Monthly was one of many craft and hobby magazines published by Marshall Cavendish in the 1970s and '80s. It was mostly concerned with fashions and home dressmaking, and included a multi-sized paper pattern with each issue.

As you can see by the clothes worn by the models in the picture above, there was a vogue for retro fashions in the early seventies. Their outfits (complete with twin-sets and hats!) are a nostalgic take on the 1930s. The designer uses a muted palette of off-browns and purples - colours popularised by Biba - to achieve a glamorous soft-focus effect.

All this is in great contrast to the 1960s, a decade dominated by bright vibrant colours and crisp futuristic designs! The backwards-looking fashions of the 1970s clearly signalled disillusion with the modern era and the end of post-war optimism.

McCall Style News, March 1941

2011-11-14T01:55:00.000-08:00

For March 1941, McCall Style News features a "Chinese inspired" short evening coat on it's cover. Available for home dressmakers to sew for 50 (US) cents the pattern.

Photograph, ca. 1895-1896

2011-11-11T01:23:00.000-08:00

I can date this to within a couple of years by the sleeves, which were at their fashionable fullest in 1895 and 1896.

The photographer's label at the bottom of the picture attributes it to "Talma, 119 Swanston St. Melbourne". Talma & Co. specialised in theatrical portraits, so it is possible that the elegantly dressed young lady in the portrait had a career upon the stage.

Shopping, October 1954

2011-11-06T00:30:00.000-07:00

This magazine is an interesting little historical curiosity!

For a start, it was published in Britain where - in 1954 - the postwar period rationing and austerity had barely ended. (The last remnants of food rationing in fact had only been done away with that year.) In a sense the consumer society had barely begun - and yet here was a magazine strictly devoted to the consumption of fashion and accessories!

What's more, the numbering of the magazine - this is volume 12, number 12 - implies that Shopping had been existence a number of years already, partly in an era when consumption for the sake of it was considered unpatriotic!

The following issue after this one changed its name to Woman and Shopping. Clearly the twin ideas of woman as consumer and recreational shopping were well on their way by 1954.

New Idea, May 1903 (#2)

2011-11-03T00:08:00.000-07:00

Here is another plate from New Idea, this one illustrating patterns for lingerie - Edwardian style. The patterns on offer included a "dressing sacque", a wrapper and a petticoat. None of the garments appear particularly sexy or seductive by today's standards - though they are certainly more decorative than the sort of utilitarian undergarments the Victorians liked to wear!

(I'm guessing a "dressing sacque" was a warm and protective over-garment worn by a woman in her bedroom while she was dressing or doing her hair. They appear to have died out, along with tea gowns, early in the 20th century.)

McDowells Mail Order Journal 1938-39

2011-10-24T03:33:00.000-07:00

This Sydney mail order catalogue was aimed at budget conscious women who wanted "Style without extravagance!"

Apart from the usual layouts of 1930s fashion, this catalogue held one delightful little surprise for me. McDowells also sold materials for home dressmakers, and had attached little sample pieces for their customers' inspection. Tucked away safely in the middle of the book, these samples were almost as fresh and unfaded as the day they had been pasted into the catalogue. It gave me a chance to see some original 1930s fabrics in detail. I've scanned a couple of cotton pieces below - as you can see, small floral prints were popular! These types of prints would remain in fashion through the Second World War, only to be replaced with larger scaled and more abstract blooms in the 1950s.

Australian Home Journal, March 1928

2011-10-20T00:46:00.000-07:00

These are the clothes everyone envisages when they think of the 1920s. Fashions would not be quite so youthful or rebellious again until the 1960s. There's one little incongruity in this picture - to modern eyes at least! Though all the models appear to be wearing light summer dresses, the woman on the right is also sporting a fox fur stole. Clearly it had more to do with fashion than to do with warmth.

Lewoolin Clothes Book of Fashion, Spring '50 (3)

2011-10-17T00:04:00.000-07:00

More fashions courtesty of Lewoolin Clothes! This selection includes a "three piece ensemble" (centre right) and an "all purpose Jigger jacket" (bottom left).

Foy & Gibson, 1902-1935

2011-10-11T17:22:00.000-07:00

For your information (and your delight, I hope!) The University of Melbourne has put its Foy & Gibson collection online in pdf format. Foy & Gibson was an Australian department store with branches in most of the major cities. The University has extensive collections of its mail order catalogues from 1902 to 1935.

There's a lot in the archive to browse - not just pictures of the fashions, but accessories, trimmings, underwear, furnishings, toys and menswear. It's a little treasure trove of the material culture of a bygone era - and a lot of nostalgic fun!

Lewoolin Clothes Book of Fashion, Spring 1950 (2)

2011-10-09T00:22:00.000-07:00

More fashions from Lewoolin!

Lewoolin Clothes Book of Fashion, Spring 1950 (1)

2011-10-03T01:51:00.000-07:00

I found this little catalogue (it's only 15 cm. high!) on eBay. It was issued by a firm called "Lewoolin Clothes", based in Regent Street in London, that appeared to specialise in women's coats and suits. Over the next few days I'd like to share images from the catalogue with you.

Notice the designation "Utility" on these pictures. Utility was a scheme devised by the British government during World War II to ensure that clothing manufacturers produced most of their clothes to a fixed standard and sold them at a set low price. Though manufacturers could produce a number of non-Utility garments and charge what they liked for them, these attracted a higher sales tax than their Utility counterparts.

Though the war had been over five years when this booklet was produced, and clothes rationing had ended early in 1949 in Britain, the Utility scheme lingered on into the early 1950s.

Modes Royale Home Pattern Catalog, Spring and Summer 1969

2011-09-28T22:38:00.000-07:00

I've been missing in action for a couple of weeks because I've had visitors staying with me - and no time to post! However, I'm back in business as of today, and to kick off I bring you this little item from the 1960s:

The illustration on the cover of this pattern catalogue is a reminder that fashion was not always for the young and the iconoclastic - even in the 1960s. The suit the model is wearing would have been scorned by the dolly bird or the hippie chick, but their mothers or their older sisters would have worn it with pride.

David Jones catalogue, Summer 1958

2011-09-14T22:57:00.000-07:00

Not a dress, but "Kandy Kotton separates". Presumably the wearer would swap the top or bottom for something else if they got tired of this ensemble.

Stitchcraft, November 1964

2011-09-12T21:19:00.000-07:00

Casual wear mid-sixties style: a bulky cardigan and pedal pushers. Just the thing for walking the dogs!

The 1950s Look by Mike Brown

2011-09-06T00:58:00.000-07:00

This is a companion to The 1940s Look by the same author.

While The 1940s Look dealt mainly with the trials of dressing smartly in a time of war and rationing, The 1950s Look covers the much more prosperous following decade. Because of this its emphasis is more on fashion than the previous volume, which depicted an era where people were more concerned with stretching their resources than self-expression or following the vagaries of fashion.

This is evident in the section of The 1950s Look covering men's fashion as well as the (larger) section covering women's fashions. The former discusses - among other things - the new foreign influences on British men's fashions: American in the beginning of the decade, and Italian towards the end. The latter gives a year-by-year overview of women's fashions, comparing what appeared on the catwalks with what appeared in the shops. In both mens- and womenswear there was a marked trend towards more casual dressing as the 1950s drew to an end.

As in the previous book, The 1950s Look draws on a plethora of original sources, and as well as discussing the fashions of adult men and women it covers hairstyles, makeup, fashionable body types and the clothing of children - and that new phenomenon, teenagers! All in all it's an excellent reference guide to the 1950s. Readers should be aware, however, that though it is subtitled "Recreating the Fashions of the Fifties" on the cover, they will have to search for more detailed sources if they really want to get The 1950s Look.

Seven Oaks : Gardners Books, 2008

ISBN 9780955272332

New Idea, May 1903

2011-09-05T23:33:00.000-07:00

(There was also an Australian magazine of this name around the same time, but this is an American publication.)

The lady on the cover is dressed fairly plainly for the era, but she is still corseted into the characteristic Edwardian "s-bend" shape and has to hold her skirts up to prevent them trailing on the ground. Her clothes are not in any sense practical, even though they are less decorated than many from the same period.

Vogue First of the Month Collection, February 1947

2011-08-26T21:13:00.000-07:00

Judging by the size and style of this publication it was intended as a supplement to the big Vogue pattern catalogues displayed in fabric stores.

Though these patterns were released before Christian Dior sprang his New Look on a waiting world, it is clear that fashion changes were already in the air. The lines of these suits are noticeably less angular than their wartime counterparts, the waists are clearly indented, and the skirts are longer and fuller than would have been seen a couple of years earlier. The two trim and ladylike models in the picture are looking forward to the fifties rather than back to earlier in the decade.

Photograph, ca. 1894-1897

2011-08-16T23:04:00.000-07:00

This robust colonial lass demonstrates that even in the 19th century fashion had its pitfalls if you didn't have the right figure for it. In this case the sitter's corsets appear to be laced uncomfortably tight creating a visible ridge under her clothes around her bust.

The photograph is stamped "Mora, 83 Rundle Street, Adelaide". My research informs me that the firm existed at that address during the 1890s. I further narrowed the date of this picture to the middle of the decade by the puffed sleeves the sitter was wearing.

Simplicity Pattern Book, Summer 1950

2011-08-14T02:55:00.000-07:00

The model wearing this outfit looks like the archetypal fifties housewife dressed to go out! Very typical of her era is her neatly groomed head, seed-pearl necklace and small waist, while her large white collar and cuffs add a demure touch to her outfit.

Singer Sewing Fashions Showcase, Fall/Winter 1970s

2011-08-12T00:40:00.000-07:00

Yes, Virginia, there were stylish clothes in the 1970s. Here is an example from the beginning of the decade.

Le Petit Echo De La Mode, No. 22 of 1930

2011-08-10T00:54:00.000-07:00

This is a chic French version of all those little sewing magazines available in the English-speaking world.

Though it is often said that fashions changed radically at the end of the 1920s (just in time for the Wall Street Crash and the start of the Great Depression!) it can be seen from this picture that plenty of style elements from the 1920s lingered on into the new decade. The fashionable silhouette is still fairly straight and the models' heads are still covered with close-fitting hats. Moreover, while the waist is belted in its "natural" position, the skirt descends from a yoke at the hips, echoing of the dropped waistline of the previous decade.

Weldon's Ladies' Journal, August 1911

2011-08-01T23:29:00.000-07:00

... And to kick of August, here is the last of my 1911 issues of Weldon's Ladies Journal. The free patterns enclosed this month included a child's bathing suit and a blouse for an older lady.

Vogue Pattern Book, August-September 1957

2011-07-31T21:21:00.000-07:00

I am reading a biography of Christian Dior at the moment, so naturally my thoughts turn to the 1950s. This Vogue pattern S-4805 is not by Dior (alas!) though it is undeniably influenced by him.

This issue of Vogue Pattern Book contains a feature on the latest materials available for the home dressmaker - in "fuchsia" (shades of dark pink and purple), in "spice" (browny-oranges) and in "cactus" (yellowy-greens).

Photograph, 1889

2011-07-31T01:31:00.000-07:00

Though this small photograph is spotted with age, it has one unusual gift for the fashion historian - an exact date! According to the information printed on the back it was taken by Thomas Forrest of the Cambrian Studio in Pontypridd on March the 22nd 1889. The sitter's costume is slightly old fashioned for the era, illustrating the way styles lagged between the centres of fashion and the provinces.

"The 1940s Look" by Mike Brown

2011-07-29T21:56:00.000-07:00

The subtitle for this ("Recreating the Fashion, Hairstyles and Make-up of the Second World War") is misleading. The 1940s Look doesn't tell you how to recreate the look of the 1940s so much as tell you how the people of the 1940s created it in the first place. While it is possible to approximate the fashion and beauty techniques of the 1940s using this book it really doesn't provide enough detail on how to duplicate them exactly using the resources of the 21st century.

On the other hand The 1940s Look does give e a fascinating account of how people "made do" in early forties Britain, and the way they tried to present themselves. It covers everything from make-do-and-mend tips, to some of the substitutes popularly used for hard to get make-up, to the tricks people used to try and get around clothes rationing. It is also slightly unusual in that it gives almost equal weight to men's and children's styles in its account of fashions in the 1940s. One piece of trivia I found interesting was the description of how men's hairstyles in the British forces differed from the regulation crew cuts worn by American soldiers.

In summary I would say: this book is an excellent overview of fashion and dress in the 1940s. It draws on many original sources, in particular the many popular magazines and advice leaflets of the time. If, however, I wanted to give myself an authentic 1940s makeover I would try to go to the original sources myself and study the subject in more detail. A lot of good 1940s fashion texts have been reprinted, and the magazines are always available through eBay!

Published: Sevenoaks, Kent: Sabrestorm Publishing, 2005.
ISBN 9780955272318

Simplicity Pattern Book, Summer 1972

2011-07-28T22:35:00.000-07:00

Simplicity features a nautically inspired costume on the cover of its summer 1972 Pattern Book.

Lana Lobell catalog, Fall 1968

2011-07-21T17:17:00.000-07:00

The woman on the left is wearing a turtleneck made of acrylic and a skirt and tunic made of nylon. The woman on the right is wearing a suit made of rayon. Between the covers of this catalogue I have looked in vain for a single natural fibre...

Home Notes, January 26 1928

2011-07-20T00:33:00.000-07:00

Even relatively cheap magazines offered dress patterns to their readers. This inexpensive little weekly included a pattern for a "jumper dress" in one of its 1928 issues. Alas, the pattern hasn't survived, but judging by the illustration on the cover it was oh, so typically 1920s. The very simple lines of 1920s fashions made life easier than ever for the budget-conscious woman who wanted to look fashionable.

McCall Style News, January 1941

2011-07-15T00:09:00.000-07:00

Featured on the front page of McCall's free pattern newsletter: a simple frock with jerkin. The plain lines are very typical of the era.

Australian Home Journal Summer Fashions, 1961-62

2011-07-14T00:15:00.000-07:00

More pictures from one of my favourite fashion eras.

The Australian Home Journal used to put out catalogues of its dressmaking patterns twice a year. These are the front and back covers of its catalogue for the summer of 1961-62.

"The Anatomy of Fashion" by Susan J. Vincent

2011-07-10T01:55:00.000-07:00

The problem with a lot of books written about the history of fashion by academics is that they tend to be too abstract - so caught up in the theory of fashion that they forget that ultimately they are talking about real garments that were once worn by real people. Happily this is not the case with The anatomy of fashion: dressing the body from the Renaissance to today. The result is a book that is at once scholarly and immensely readable, and jam-packed with interesting facts.

Susan J. Vincent has chosen a novel method of exploring the history of fashionable dress in England from the 16th century until now: instead of tracing the story chronologically she comes at it anatomically. Starting from the head and working her way down to the legs she discusses the various ways people of fashion have adorned and deformed different parts of their bodies (though oddly enough she stops short of the feet, leaving shoes and boots out of the picture altogether!)

As she tours the human body Vincent illustrates he story with examples from real life which gives us an idea of what it was actually like to wear the garments she describes. For example, Pepys on the problems of maintaining wigs:

Further trouble arose in July 1664 when, unsurprisingly, he was annoyed at having to have a new wig, presumably made of lousy hair, cleansed of its nits; as it turned out, a perennial problem with Jervase's merchandise... For Pepys though, after nearly five years of 'keeping my perriwigs in good order' he hit on the happy notion of paying his barber a flat fee of 20 shillings a year to do it for him, so 'I am like to go very spruce, more than I used to do.'

Or popular views on wearing stays:

Even Lydia Becker, a radical campaigner for women's suffrage and education, thought corsets indispensable. 'Stick to your stays, ladies, and triumph over the opposite sex.'

Or the shock of women wearing the trousers:

In 1983, for most of us a time not from history but of lived experience, forty-year-old Mrs Jeanne Turnock was fired from a north London crematorium after wearing a trouser suit. Mrs Turnock brought a case of unfair dismissal against her employers, telling an industrial tribunal that she had begun wearing a navy blue trouser suit because of the cold, particularly as her job included showing people around the crematorium grounds in all weathers. The crematorium's manager, although he had 'no personal objection to women in trousers', said the garment was inappropriate in the context. 'We are dealing with elderly people recently bereaved and a large number may find some offence in a lady in trousers coming to deal with them.' Despite there being no contractual obligation to dress in a particular way, the tribunal upheld the crematorium, unanimously deciding that 'the dismissal was fair'.

In brief, this is an excellent book which should be enjoyed by all intelligent readers interest in the social history of fashion.

Oxford: Berg, 2009
ISBN: 978 1845207649 (pbk)

Photograph, ca. 1889-1890

2011-07-06T01:07:00.000-07:00

This is a carte de visite sized photograph I picked up on my visit to Melbourne. The photographer's information on the back reads:

JAMES DOHERTY,

PHOTOGRAPHER,

CARLISLE ROAD,

LONDONDERRY,

I put the date of the picture around 1889-1890 because the female sitter's clothes have features typical of both decades. The cut of her bodice is typical of the 1880s, as is the draped "apron" effect of her skirt, but she is clearly not wearing a bustle and her sleeves are gathered at the shoulders in a way prefiguring the "leg o' mutton" sleeves of the early 1890s. These transitional styles were fashionable briefly for a couple of years in 1889 and 1890.

Weldon's Ladies' Journal, July 1911

2011-07-04T18:23:00.000-07:00

July 1911. And so we come to the second-to-last of the issues of Weldon's Ladies' Journal I bought earlier this year. This one originally included a free pattern for a bathing dress. As illustrated on the cover it would make a respectable dress today!

Weldon's Ladies' Journal Portfolio of Fashions, 1937

2011-06-28T23:48:00.000-07:00

By the 1930s Weldon's Ladies' Journal was advertising the patterns it had for sale via a separate "Portfolio of Fashions" included with each issue of the magazine. Here we have a selection of typically 1930s fashions available from a 1937 issue of the "Portfolio".

Style Pattern Book, Spring 1975

2011-06-21T22:16:00.000-07:00

The public areas at my workplace have just been refurbished. The temporary partitions have been removed and the eagerly awaited results unveiled. And - the decorator has clearly gone for a 1970s approach! Brown and orange furniture contrast with the purple patterned wallpaper. Only the computers seem out of period.

To fit in I think I'll have to dress for work like the model in the picture above. She's wearing a feminine adaption of the safari suit, a 70s fashion which did not survive the decade.

Vogue Pattern Book, April-May 1956

2011-06-16T21:39:00.000-07:00

My latest acquisition!

There were two main fashion silhouettes in the 1950s: the bouffant skirt with slender waist and the tight and narrow sheath style. (Both of which relied upon constricting "foundation garments" for their effect.) This is an example of the latter as interpreted by "Vogue Patterns" in 1956.

Vogue Australia, Summer 1957 and Simplicity Magazine, Summer 1958

2011-06-15T04:21:00.000-07:00

Though people today think of the 1950s as a very formal decade it in fact saw a huge growth in casual fashions. More people had more money than ever before, and the leisure time in which to enjoy it.

Here we have two very similar beach outfits from the late fifties consisting of short shorts and sleeveless tops.

Handmade, September-October 1987

2011-06-13T05:12:00.000-07:00

The 1980s was the era of the excessive and the oversized. Here we have an example of an outsized dressed teamed with a big belt and huge shoulder pads. The latter was THE signature look of the decade.

Style Pattern Book, Autumn/Winter 1975

2011-06-09T22:48:00.000-07:00

This is a fairly moderate version of the "layered look" which was popular in the 1970s. Some pop sociologists attributed the look to the various fuel crises plaguing the decade, but it could just have easily arisen as a contrast to the sleek mod look of the 1960s.

Snapshots, ca. 1940-1945

2011-06-04T05:08:00.000-07:00

I found these three snapshots in an antiques and collectibles store in Adelaide a few years ago. Unfortunately there is no information on where they came from originally. However they were all clearly taken sometime during the Second World War.

The first is inscribed on the back: "To David with best wishes from Susan B." David, no doubt, was with the armed forces. It's impossible to give this an approximate date from Susan's dress alone, as floral frocks like this were fashionable before the war - and often worn for the duration. Her hairstyle, however, with its high pompadour, came into fashion among younger women around 1942, so this picture was probably taken somewhere between 1942 and 1945.

The older woman whose picture was taken here with her soldier husband or brother is wearing a similar floral frock, ornamented with a broach. She also wears a fairly conservative hairstyle and comfortable looking oxford shoes.

This last picture is of a woman wearing a much plainer outfit, which appears to be home-made. Since her suit is without ornament - not even buttons, trimming or elastic! - it seems likely that she made her clothes at a time when such things were in short supply, and women were asked to go without in order to help the war effort. In Australia that would be from early 1942, when the Japanese began their advance across the Pacific.

Weldon's Ladies' Journal, June 1911

2011-06-03T04:19:00.000-07:00

The fashions of a century ago, via Weldon's Ladies' Journal. The blouse at bottom left is described in the magazine as a "Puritan Blouse", no doubt because of its large white collar.

Photograph, ca. 1867-1868

2011-05-30T21:43:00.000-07:00

This is another photograph from the second half of the 1860s. It was taken by "W. Clayton, Artist & Photographer" at the Albert Portrait Rooms in Nottingham. From what I can gather he was one of a family of photographers working in Nottingham in the 19th century.

I put this photograph at around 1867 or 1868 because the sitter's dress, while still obviously supported by some kind of cage, is cone-shaped rather than bell-shaped as it would have been during the hey-day of the crinoline. The shape of the sleeves and the yoke are also very characteristic of the later half of the 1860s. While the sitter is obviously not well-to-do, she appears to be able to keep up with the main trends of fashion.

Butterick Fashion Magazine, 1939

2011-05-29T23:56:00.000-07:00

This digest sized magazine listed the latest fashions available for the home dressmaker in Butterick patterns. The dress pictured on the cover is described inside as having touches of lingerie embroidery around the neck, and at the hem the latest fashion fad - a hint of petticoat! Since I've never seen the second fashion mentioned elsewhere I have to conclude it never really caught on.

Photograph, ca. 1880

2011-05-26T23:49:00.000-07:00

This elegant lady - clearly dressed in velvet - had her picture taken by an anonymous photographer at the East Kent Photographic Company in Canterbury (England). The narrow lines of her costume are typical of the late 1870s and early 1880s, as is the train she is holding up. The hat she is wearing, however, was fashionable in the early 1880s, which would put this picture in the latter decade.

Another reason for tentatively dating this photograph to 1880 is the number "221180" written on the back, which could quite possible represent the date it was taken!

Simplicity Fashion News, October 1967

2011-05-25T22:16:00.000-07:00

This trendy mod outfit could not be much more of the 60s if it was set to a soundtrack by the Beatles and the Rolling Stones. Typical of the periodical is the horizontally striped top and the chain link belt. The photograph is cropped a little below the model's waist, but it would not be too wild a guess to say she is wearing a miniskirt too!

Postcard, ca. 1911

2011-05-25T00:44:00.000-07:00

This postcard was found in the same shop as the photograph in my previous post. It mocks the "hobble skirt", surely one of the silliest fashions ever inflicted on women.

I get the date from the message on the back of the postcard which reads:

Milawa, March 1st, 1911

Dear Hep the Box was sent yesterday I hope you got it safe you will have to be careful the pears & apples have the codlin in the pears will soon ripen if laid up a few days the apples are only fit for cooking. with fondest love from Mother & McGregor.

Photograph, ca. 1866

2011-05-23T17:13:00.000-07:00

I've been missing in action the last week because I've been in Melbourne - where I discovered a shop in East Kew that sold lots of wonderful collectibles, including this Victorian carte de visite sized photograph. From the information printed on the back it was taken by C. Hawkins at the Brighton School of Photography, and I put the date at around 1866. The sitter's skirt, while still full, has lost the bell-shaped crinoline which supported the fashionable shape earlier in the decade. Her waist is cinched by a belt made in the same material as her dress with an ornamental buckle.

A little research on the net indicates that the photographer moved to the address on the card (38 Preston Street) in 1865. The chair and the table in the picture are props, and appear in other portraits taken at the Brighton School of Photography around the same time.

"Fashion Illustration, 1930 to 1970"

2011-05-15T01:01:00.000-07:00

Fashion Illustration: 1930 to 1970 is not unlike this blog: lots of illustrations with brief commentary.

The pictures all come from the British edition of Harper's Bazaar, and are taken from advertisements appearing in the magazine as well as pictures commissioned by the editors. While this book could be read as a history of women's fashions in the mid 20th century, it is in fact better interpreted as a guide to graphic design in the same period. The styles of the pictures range from Art Deco in the early thirties, to Op- and Pop-art influenced drawings in the sixties. Many other schools of art influence the graphics appearing in the magazine in the years in between. There is even a touch of Soviet Realism in some of the pictures published in the war years!

The cover illustration is taken from a picture of a swimsuit which first appeared in Harper's Bazaar in March 1959.

(London: Batsford, 2010. ISBN 9781906388812)

Butterick Pattern Book, Spring 1957

2011-05-10T03:35:00.000-07:00

This issue of Butterick Pattern Book contains many pictures of Butterick patterns made up in 1950s modern abstract prints. The outfit worn on the cover was made in "Tanjore" printed silk faille, produced by American Silk Mills.

Lana Lobell catalogue, 1968

2011-05-05T00:23:00.000-07:00

My 50th post!

Post-war fashion had a love affair with synthetic fibres. This glamorous party dress was made of nylon and "Acetate Satin".

Weldon's Ladies' Journal, May 1911

2011-05-02T00:24:00.000-07:00

The next in my series of Weldon's Ladies' Journal. This time we have "Artistic Fashions for the Early Summer" from May 1911.

The Delineator, June 1933

2011-04-29T04:54:00.000-07:00

Since an estimated two billion people will be watching a certain wedding tonight, it seemed the most appropriate time to post this. Bridal fashions, 1933 style.

Alden's Catalog Digest, Spring-Summer 1948

2011-04-27T04:21:00.000-07:00

This is a perfect illustration of the way high fashion often differed from the clothes women bought in the stores and wore on the streets. In 1947 Dior launched his "New Look", which boiled down consisted of longer skirts, nipped in waists and unpadded shoulders. By 1948 all designers of haute couture were working along these lines, but Alden's, while accepting the nipped in waist and the longer skirts, obviously thought their customers would not go for the narrow shoulders. (Shoulders in women's clothes had been broad and padded for nearly fifteen years by this stage!) What they wound up with here was the "Gibson Girl" look, harking back to the 1890s.

Lady's Realm, November 1903

2011-04-26T00:30:00.000-07:00

No one ever accused the Edwardians of wearing understated fashions: more was definitely more in 1903. This is a dress for a debutante "in white gauze, with a spot of turquoise, trimmed with ruches of gauze ribbon and lace applique". Well-to-do older women would be more elaborately dressed yet.

Flair, July 1961

2011-04-25T04:45:00.000-07:00

Flair did a special issue on suits in July 1961, and the model on the cover is wearing one in "Classene Terylene and wool fabric, shadow-checked in cocoa and black, and styled with a waist-length jacket, group-pleated skirt." Inside they also illustrate suit styles inspired by Coco Chanel and the world's latest fashion icon - Jackie Kennedy.

David Jones catalogue, Summer 1974

2011-04-19T23:21:00.000-07:00

Made in white seersucker, this ruffled sundress was obviously influenced by the nostalgic "pastoral" look which was one of the ongoing fashion trends of the 1970. However it seems likely that it owes more to Marie Antoinette than than real life shepherdesses, and the choice of background for this photo seems frankly odd.

Weldon's Ladies' Journal, April 1929

2011-04-13T17:53:00.000-07:00

Sleek and streamlined, the fashions of the late 20s are the earliest you can point to and say "this is modern". The free patterns offered in this issue of Weldon's - skirt, jacket and blouse - would not look too out of place on the streets if made up today. Only the hats and hairstyles have really dated.

Distinction, Summer 1960

2011-04-11T16:54:00.000-07:00

Since this is a special issue for teenagers one can assume the formal outfit modelled on the cover was intended for this age group - but it could just have easily been worn by the teenager's older sister. Youth fashions were still fairly conservative in 1960.

"Couture" edited by Ruth Lyman; "Patou" by Meredith Etherington-Smith

2011-04-10T02:27:00.000-07:00

Couture: an illustrated history of the great Paris designers and their creations was published 1972, which was ironically around the time that Paris haute couture stopped being the main source of fashion ideas. This book by a number of well-known fashion writers traces the history of Paris fashion from Worth in the late 19th century to Saint Laurent in the 1970s. It is somewhat of a patchwork, covering a number of designers from overlapping perspectives. Perhaps my favourite essay in this book is "A Paris model: the world of the mannequins" by Penelope Portrait, which describes her life as a model in the 1950s.

Along with his rival, Chanel, Patou was one of the designers who created the "look" of the 1920s, and this book is a history of his career. He specialised in jaunty modern "sports" clothes designed for the active postwar woman, was the first person to introduce the concept of monogrammed designer wear and created a house perfume, "Joy", which is still one of the most expensive and desirable in the world. He also shocked the French fashion world by introducing a stable of American mannequins to model his clothes - his argument being that since American women bought his clothes they would want to see them modelled on leggy American figures. His clients included sports, screen and stage stars such as Suzanne Lenglen, Louise Brooks, Constance Bennett and Josephine Baker.

Though he was the first designer to introduce longer hemlines at the end of the 1920s he didn't manage to retain his popularity into the 1930s, gradually falling out of step with the spirit of the era. By the time he died in 1936 he was close to bankruptcy, and it is probably this decline in his fortunes and his premature death which accounts for him being not very well known today. Meredith Etherington-Smith's book is therefore a bit of a rarity, being one of the few books dedicated to this designer.

(Couture published Garden City, N.Y. : Doubleday, 1972.

Patou published New York : St Martin's / Marek, c1983. ISBN 0312598165)

Flair, April 1959

2011-04-06T17:36:00.000-07:00

Speaking as a less-than-svelte person, those were the days! The model is swathed in a bulky coat, and the cover promises readers that "You Need Not Be Slim To Be Smart".

Weldon's Ladies' Journal, April 1911

2011-04-02T18:07:00.000-07:00

To kick of April 2011 I bring you a magazine from April 1911!

The magazine enthused:

This season's fashions show a happy mingling of many modes, for instance we have the kimono sleeve, the Japanese sash, the Empire waist, Early Victorian materials, the classic Grecian lines, the harem skirt from the East, the simple gown of Puritan or Quaker make, the muslin fichu of Kate Greenaway's time, to say nothing of all the varied collars, fancy hoods, zouaves and boleros that are already worn.

From the vantage point of a hundred years later the overall "look" is much more apparent than the details.

Australian Home Journal, 1938

2011-03-29T21:13:00.000-07:00

Spring "frocks", available as patterns from The Australian Home Journal in September 1938.

Stitchcraft, 1951

2011-03-23T18:14:00.000-07:00

Summer is very definitely over in the Southern Hemisphere, so what could be more snuggly appropriate than this picture of a hand-knitted jacket from the fifties?

"70s Fashion Fiascos" by Maureen Valdes Marsh

2011-03-20T02:01:00.000-07:00

Or to give it its full title: 70s Fashion Fiascos: Studio 54 to Saturday Night Fever: Your Guide to the Funky, Flashy Looks of the 1970s, Where Disco Never Dies and Denim Never Fades.

With a title like that you'd expect this book to be only 112 pages of mockery and polyester. However it is definitely more than that. Maureen Valdes Marsh covers the trends of the 70s - from mini-skirts to granny dresses, from leisure suits to pants suits - with a light and humorous touch, but conveys a wealth of information about the social and sartorial trends of the decade as well. For instance, how many people have heard of a "pants in"? Or understand the role of nurses in making trousers acceptable wear for women in the workplace?

The author is a collector of vintage catalogs and fashion magazines, so the book is lavishly illustrated with pictures from contemporary American mail order catalogs such as Sears, J.C. Penney, Montgomery Ward and Aldens.

(Published by Collectors Press, 2006. ISBN 9781933112268)

Skylark Original Fashions, 1967

2011-03-17T18:37:00.000-07:00

Here is another pants suit, dating from a few years earlier than the 1970 version I posted earlier. Made in rayon, this costume was described as "the In Outfit" in the Skylark Original Fashions catalogue, and the advertisers claimed (rather optimistically) that it could be worn "anywhere". However the catalogue also listed a matching skirt which could be used to make "presto" changes, indicating that trouser suits for women were sometimes more fashionable than acceptable in 1967.

McCall Style News, 1947

2011-03-16T22:17:00.000-07:00

The publisher describes this early post-war evening dress as stunning, and it certainly is that. The model looks as if she has just stepped out of a 1940s Hollyood film noir.

Style Pattern Book, 1970

2011-03-13T21:52:00.000-07:00

By the late 1960s the miniskirt had shrunk until the fashionable length barely skimmed the tops of women's thighs. Not unnaturally, many women found this unflattering and embarrassing - but as the "midi-skirt" was considered old-fashioned and dowdy, what could they wear instead? The answer was the pants suit, seen here in one of its early incarnations as a tunic with trousers. In length and style the tunics weren't too different from the dresses of the era - and in fact could be worn as dresses on occasion. There are stories from this period, perhaps apocryphal, of pant-suited women being refused admittance to venues such as restaurants, but managing to conform to the establishments' dress-codes by whipping off their offending trousers and wearing only the top halves of their outfits instead.

Vogue (US), 1940

2011-03-10T22:09:00.000-08:00

Sadly this magazine is not in very good condition - pages have been cut out and someone has doodled over it in pencil.

By 1940 trousers for women were acceptable in limited circumstances - on the beach, for example, or for gardening. During the war years women started wearing them in more public settings as they engaged in more traditionally masculine occupations and feminine fripperies such as stockings became harder to get. The model on the cover of this issue of American Vogue still wears "slacks" in a peacetime garden setting, while across the Atlantic women were starting to wear them for war work.

Weldon's Ladies Journal, March 1911

2011-03-09T01:22:00.000-08:00

Fresh from France via eBay - a package of six issues of Weldon's Ladies Journal from 1911. Here we have the first issue, which is exactly 100 years old:

The front cover illustrates the free patterns given away with the issue: a coat and skirt, a matron's bodice, a cycling skirt, "blue serge knicker[bocker]s for a boy" and a lady's camisole and knickers.

And on the back cover: "Artistic Fashions for the Spring Season" - available as patterns from Weldon's. Note the narrow skirts and the wide hats - possible THE distinguishing fashion features of the period.

Flair, 1963

2011-03-05T19:02:00.000-08:00

This dress is right up to the minute with its body-skimming lines and dropped waistline. Notice that the model is carrying, but not wearing a hat - no doubt because she was afraid it would mess up her bouffant hair-do!

La Mode, 1923

2011-03-02T22:13:00.000-08:00

This French weekly was published on cheap paper (you can see the discolouration in the scan) but still manages to be very stylish. The very chic and feminine model on the cover appears to be dressed for a garden party in a picture hat and a slightly bouffant skirt.

McCall Style News, 1933

2011-02-28T16:20:00.000-08:00

1933, and fashion has gone to women's shoulders. McCall obtains the broad-shouldered effect in these two patterns for summer dresses by draping the short sleeves to achieve a "cape" effect.

Woman and Beauty, 1954 and The Art of Being a Well Dressed Wife, 1959

2011-02-26T23:54:00.000-08:00

Many women virtually ignore hats in their wardrobes, a tendency to be mourned. Historically and romantically, hats have been a symbol of a woman, yet today men wear more hats than women - which is a deplorable situation.

Don't shun hats. They are a difficult part of the wardrobe, but worth perfecting. The cliche about a woman buying a hat to cheer her up couldn't be truer. A hat can buoy your emotions as well as your looks. Since every wardrobe must have basic headwear for church, community affairs, and extremes of cold and hot weather, don't take the first hat that comes along or least conspicuous one as a 'necessary evil'. Develop your own hat stylishness as a means of expressing your own individualism.

Anne Fogarty, The Art of Being a Well Dressed Wife (1959)

I found a reprint of Anne Fogarty's treatise on "wife dressing" on Friday, and since then have been enjoying browsing her advice on dressing the part of the perfect helpmate, 1950s style. A few years before she penned the words above deploring the demise of the hat Woman and Beauty published this delightful millinery confection on its cover. However, both Fogarty and the magazine were fighting a losing battle: the hat slid from favour for everyday wear and now mostly appears on the racecourse on in extreme weather. I know at least one person who was young in the late fifties who was heartily glad to see it go!

Girl's Own Paper, September 1884

2011-02-24T02:19:00.000-08:00

In our large sketch by the seaside our artist has taken a portion of the beach at Ramsgate as a background for his figures, and everyone looks thoroughly comfortable, as if their holiday was a real one, not a sham.

The fashion column in The Girl's Own Paper was called "Dress: In Season and In Reason", but to modern eyes these dresses look neither reasonable nor comfortable wear for the beach! From left to right the main figures are wearing a "coloured batiste with Venetian embroidery", "a black lace dress, made up over grey silk" and "one of the new tunics with a puffed front".

Flair, 1958

2011-02-21T02:18:00.000-08:00

"This mid-20th century has given us so many new fabrics that weigh almost nothing, that one woman should be able to pack enough clothes into a 45lb. luggage allowance to for the entire round-the-world air trip."

Headed "Australian Fashions and Where To Buy Them", Flair heralded the post-war consumer society. Among the things available to consumers were a whole range of new easy-to-care for synthetic fabrics and cheaper air travel. The fifties, however, was a decade which still laid down strict rules as to what could be worn where and when - so Flair steps into the breach here to suggest ways to make the most of an airline luggage allowance. This issue of the magazine also contains advice on getting passports and visas for the novice traveller.

Vogue (British edition) 1946

2011-02-20T02:09:00.000-08:00

Photographed by Cecil Beaton, this sophisticated fuschia evening dress was designed by Peter Russell for the London Designers' Collections for Export. This put it out of reach even for most readers of Vogue - clothes like this were designed strictly for export to help Britain's precarious balance of payments. Meanwhile at home clothing was still tightly rationed and designs regulated. Luxury wear like this would have been the stuff of dreams only.

Australian Home Journal, 1926

2011-02-15T20:33:00.000-08:00

The Australian Home Journal was founded in 1894, and until the early sixties promoted its own brand of paper dress patterns which it sold through the mail. I picked up this issue, published in 1926, in a local collectibles shop. Though the cover is slightly soiled the inside is in beautiful condition, containing features on fashion and dressmaking as well as short stories, recipes and advice columns. The picture above illustrates the sleek, almost severe, styles of the mid-1920s, in a version the average home-dressmaker could make for herself.

Vogue Pattern Book, 1963

2011-02-14T15:41:00.000-08:00

This quintessentially sixties fashion is described as a "patio dress" (actually a long pair of culottes) designed for casual summer evening wear. It is an example of the move towards more informal styles during the decade.

Distinction, 1970

2011-02-13T18:28:00.000-08:00

The magazine is called Distinction, and the model on the cover certainly looks distinguished in her coat and skirt outfit by Nina Ricci.

Inside the magazine is full of straightforward fashion reportage but not much glamour: it contains lots of almost documentary-style black and white pictures with descriptive captions. This makes Distinction a fascinating resource for the fashion historian, but alas! it was in its final years in 1970. The magazine which carefully spelled out what was "in" and what was "out" became pointless in the chaotic "do you own thing" fashion world of the 1970s and eventually folded.

"Floral Frocks" by Rosemary Harden and Jo Turney

2011-02-11T23:02:00.000-08:00

In the middle of last century almost every woman had a floral shirtwaist frock in their wardrobe. Floral Frocks: A Celebration of the Floral Printed Dress from 1900 to the Present Day covers the rise and fall of this garment through the 20th century, with a particular emphasis on the years between the late 1920s and mid-1960s. It summarizes the styles that were fashionable through the century as well as changes in textile design and clothing manufacture in this era.

What makes this book a particular pleasure to read, however, is the fact that the authors are interested in the floral frock as it was worn by ordinary women in work and play. Floral Frocks is thus more than a history of fashionable design. It is filled with snapshots and anecdotes from the original wearers of these dresses, making it a fascinating oral and social history of the mid-20th century.

The second (and smaller) part of the book covers the late 1960s through to today, and is rather more theoretical in its approach - and thus less appealing than the first part. It still manages to cover some interesting material, however!

(Woodbridge, Suffolk : Antique Collectors' Club, c2007. ISBN: 9781851495382)