CLOTHES OF YESTERYEAR

Otago Witness, Issue 3743, 8 December 1925, Page 25

CLOTHES OF YESTERYEAR

PICTURESQUE ENGLISH COSTUMES. In this modern age of progress wo tret prone sometimes to lament the “good old days,” when men were gallant and ladiea were fair, and tho age of chivalry was at its zenith, but after all, vve must remember that in*those times the opportunities for gallantry and coquetry were legion. Just think of the clothes that were worn! Frills and furbelows, gorgeous silks, satins, and laces, marvellous cravats that required hours of adjusting, knee breeches that defied any qftempt to ait down, ruffs, and bespangled satin vests, and bejewelled rapiers of the finest workmanship. With such finery there can be small wonder that the “blade” of th© century was a gallant individual. He simply could not help it. The gentleman who could sport the most original cravat basked under the royal smile, and became famous thereby. Beau Brummell is an outstanding type. He was the last word in fashion and splendour, and from him the bucks of the day modelled the cuts of their rests, the creases of their trousers, their confident swagger, and all those little details that went to make the perfect gentleman. And there was George IV., the then Prince Regent, who encouraged this fastidious attention to per* sonal adornment and made a favourite of the greatest dandy of the day. It was all very nice. Now men wear dark suits and long trousers or Oxford bags, and the glamour of finery is no longer theirs. The women have invaded their olden rights. Something of man’s old-time glory is recalled by several of the exhibits in the British Court, where are shown a numbef of costumes, mostly representative of one period—the middle and the latter part of the 18th century. We are shown the ornate walking costume of the period and what may be called the Court costume, that is, the then evening dress. Tbe eye is arrested by a brilliant coat of red terry velvet embroidered with spangles, and by another equally elaborate striped terry velvet coat and waistcoat, thoroughly equipped with dozens of buttons. Again there is an ecstacy in brown cloth, a coat with beautiful .floral embroidery, and another waistcoat of silk brocade embroidered with green satin completes the outfit. Another glass case contains several gorgeously fashioned wedding Waistcoats which were popular then, and one or two other articles of male apparel. Along the wall are types of shoes—the early brocaded slipper with the slip or clog, so necessary in those days when gutters were canals—those good old days. One of the features of this collection is a pair of painted kid slippers worn by Queen Victoria. Women, too, were almost as fastidious in the wearing of clothes, and there is a varied selection of period costumes, notably a yellow silk Spitalsfield brocade dress and undershirt of 1870, and a quilted satin petticoat. Apart from the design the most interesting feature of these old-time clothes is their beautiful finish, particularly noticeable in the silk velvets. A purple silk dress with bodice and voluminous skirt usually provokes merriment among the women visitors, some of whom fervently hope that “that sort of thing” will not come back. Delicate laces, like beautifully woven cobwebs, form part of the exhibit, and here are specimens of needlepoint (19th century), Irish lace, and a spray of Bobbin lace, and other rare varieties The wonderful examples of watered silk that are on view show that the people of that time had not much to learn about fine textile work, and indeed it is questionable if material of such quality is pro* duced to-day.