Doreen Lady Brabourne C.I. (1896-1979)
A Passion For Clothes
It is rare for a Museum to receive by donation, a woman’s ‘complete wardrobe’ over her lifetime, but this is what happened to Maidstone Museum and Bentlif Art Gallery in 1980. Doreen Lady Brabourne had led a fashion-orientated life, spending her late thirties to early forties in India as a Governor’s wife. The sophisticated social life of the later part of the British rule in India meant that Doreen needed a large wardrobe of formal and semi-formal dresses, suits, shoes and accessories, as well as practical, more casual wear for relaxing in a hot country. Doreen returned to England, as a widow, on the brink of the Second World War. Her British Raj lifestyle Indian garments were all packed away, even the much worn accessories, and were treasured and kept.
Like many other women in wartime London, Doreen was involved in voluntary work. A surviving ‘work dress’ from this date is much worn and patched, as nothing was wasted during the War and shortages affected all social classes. By 1945 Doreen was 49, and still in mourning. She took on Mrs Hilda Parnaby as a ‘sewing lady’, to make and alter her clothes, which were mainly soberly styled and in dark tones. Gradually, Doreen allowed more colour to come back into her wardrobe. Her outfits for Bombay and Bengal had been in bright colours or tasteful neutrals, but subconsciously she had clearly absorbed the hot pinks, saffron yellows and vibrant greens of the ethnic textiles so characteristic of India. Doreen seemed to include these colours often in her wardrobe over the years, no doubt aware that they clearly suited her skin tone and dark hair. Another strong influence on her colour preferences seems to have been the range of glowing greens and blues found in Irish tweeds. Close ancestral links with Ireland, and spending holiday time with her family at Classiebawn Castle in County Sligo every summer meant that a feel for Irish colours was very much part of Doreen.
Every woman has a personal relationship with her clothes and most of us dislike parting with our outworn clothing. Secretly, we would all probably like to hoard everything we have ever worn. Doreen was able to do precisely that, having been brought up to keep everything (a common attitude up to the 1950s), and to be economic through two world wars, she lived her life alongside a gradually increasing virtual clothing archive.
Doreen genuinely loved quantities of clothes, and preferred to have a choice to hand of several inexpensive dresses rather than a single pricey garment. Her sewing lady was kept busy altering her favourite clothes, as fashion styles changed from square necks to round, and as hems went up or down. Mending and renovating this much loved wardrobe with an active, busy city and country life went on constantly.
Doreen had an American woman friend, Mrs Majorie Post, whose husband had invented ‘Postum’ (a breakfast drink) and ‘Post Toasties’ (a sort of early cornflake). Majorie Post was rumoured to be the third wealthiest woman in America, sending Doreen many lavish ball gowns. Mostly, these were too ostentatious for Doreen’s taste, so Mrs Parnaby was asked to alter and simplify, sometimes out of all recognition. Some dresses remained half converted, and spare fabric was carefully kept.
As Doreen lived in the West End, she also shopped unostentatiously at Peter Jones in Sloane Square, like many other Londoners. She made sure that she had plenty of a ‘line’ that suited her, and often bought basics in bulk, and bolts of fabric in the sales. Storage eventually became very crowded in her London flat.
When Maidstone Museum received the ‘Doreen Lady Brabourne Collection’ its range amazed the curatorial staff:
Autumn and winter dresses and jackets (in Irish tweeds and other woollen fabrics), summer and winter suits (made for India in the 1930s, or of English origin, classically styled), lightweight printed dresses and jackets (many from India), raincoats (including plastic macs of the 1950s), day and evening coats (in a range of interesting fabrics and fashion styles), furs and fur-trimmed garments (though Doreen wore less fur as years went by, out of compassion for wild animals), house coats (from the exotic to utilitarian), evening dresses and skirts (many by American designers), day and evening bags (from monogrammed leather examples of the 1930s to everyday types), parasols (a range of 1930s-50s styles on exotic sticks), sundresses and beachwear (1930s to 1950s in a range of printed and textured fabrics), skirts (from sunray pleats to jewelled felt circular ‘ethnic’ examples), blouses, cardigans and jumpers (every fashion trend from the 1950s to the 1970s), scarves from chiffon Indian silks to woollen mufflers), Chinese shawls (and garments), stoles (for evening in luxurious silks and satins), hats (straw, feather and felt), feather accessories (fans and boas), footwear (an enormous range of reptile, co-respondents, sandals, slippers, boots, galoshes, evening shoes, and synthetic shoes of the 1960s, spanning a lifetime). Many social history items were included: ‘tinned’ stockings and gloves for India, medicines, cosmetics, body care and sewing equipment, as well as a collection of family lace, including some 18th Century items.
The value of this range of garments and accessories lies in its variety. What can be categorised as ‘upper class’ and classic British clothing is closely related to the average European woman’s dress style aspirations in the greater part of the 20th Century. Doreen Lady Brabourne’s love of the exotic, ‘un-British’ Indian colours and fabrics is an inspiration that has influenced English fashion trend-setters since the early 1800s, when French ‘aristocratic’ fashion went out of favour. Doreen’s every-day, chain store fashions are again part of all our realities and her hoarding of everything she wore over her lifetime is a natural, human instinct to do with valuing our individuality.
There is much work still to be done on the Doreen, Lady Brabourne Collection at Maidstone Museum. Right now, the collection is being itemised and basically described, and we are already up to over 2,000 items. It is available for students of dress to research by appointment.
Glossary
1919
A year after the Great War (1914-1918). Many women were alone as their husbands or fiancés had been killed – a generation of men wiped out.
1930
Fashion was mature, elegant, feminine and influenced by the cinema. The smart woman’s wardrobe also contained trousers and shorts for beachwear, an American influence.
1939
September 1st Germany invaded Poland – Britain was at war until 1945. Fabric manufacturing was diverted to war-related purposes and civilian fashion went short.
1950-1970
After the war, a mood of social idealism and the Labour welfare state; rationing finally ended in 1954. In 1951, a Conservative government under Churchill coincided with an increase in private wealth. 1955-60 saw low inflation and weekly earnings shot up by 34%, creating a fashion boom for the young. High standards of living and expanding economies in a prosperous consumer society continued until the 1970s.
1979
Lady Brabourne was killed in the assassination of Lord Mountbatten by the IRA. She was spending part of the August holiday with Lord Mountbatten at Classiebawn Castle in Co. Sligo, Eire, when the family’s fishing boat was bombed.
1980
In 1980, Lord Brabourne (Doreen, Lady Brabourne’s son) offered his mother’s almost complete wardrobe to Maidstone Museum & Bentlif Art Gallery. Dating from her time in India during the 1930s to her still fashion-conscious years in London’s West End, it comprised over 2,000 items of clothing, accessories and personal care items.
Classically British
Some British fashion style ‘classics’ are the trenchcoat, tweeds, country clothing, romantic evening wear, the tailoring tradition and paradoxically, ‘Bohemian’ style.
Curating
A ‘curator’ collects, preserves, interprets and exhibits historical objects in a museum, for the benefit of visitors and researchers both now and in the future.
Hindu Raja
A Hindu Indian prince.
‘Make Do and Mend’
A wartime slogan. Clothes were rationed in 1941, and resourceful women remade old clothes into new styles. In 1943 the Board of Trade published a ‘Make Do and Mend’ booklet ‘to keep clothes looking trim…to renovate children’s outgrown clothes…to turn every scrap…to good advantage…instead of buying new!’
Sewing Lady
A woman with sewing skills employed to ‘keep the lady’s wardrobe in order’, to mend and adapt clothes for a longer life.
Evening Ensemble, 1930s
Evening wear is a formal dress style reserved for functions and dinner. Three distinctive types of evening dresses were produced by couture and top model houses: an elegant, formal and romantic outfit for mature women (often strapless or with narrow shoulder straps, slim skirts or softly-flared full length ones); a fresh, ‘ingénue’ for the 17 year old debutant; and thirdly a short evening or cocktail dress for ‘debs’ and young married women. The elegant, mature and romantic type of evening dress was an international style made up in plain, brightly coloured, clear fabrics or plain black. Often, extravagantly embroidered satins or glittering brocades were used.
Picture
1a Doreen Lady Brabourne C.I., 1922
Birley was a portrait painter in oil, born in New Zealand. Educated at Harrow and Cambridge, he studied art at Dresden, Florence and Paris. Exhibiting at many of the leading galleries and painting many of the important figures of his day, he is represented in several public collections. Birley was a great friend of the Brabourne family and often stayed at Mersham-le-Hatch. This low key portrait of Doreen Lady Brabourne, aged 26, is almost meditative. Doreen’s classically elegant beauty and natural affinity with her chosen outfit (a simple green velvet evening dress and red shawl) is unpretentiously stated.
On loan from Lord Brabourne, 1985.
Main Garment
1b Cape, black velvet and ermine, early 1930s
A very sumptuous evening cape, possibly 1920s-30s. Of padded black silk velvet, it is lined with white ermine, and trimmed around the edge and stand-up collar with 142 black-tipped tails. (Ermine is the winter coat of the weasel, which is brown in summer). It is traditionally an emblem of honour and purity, and is used in the robes of judges and noble peers. This cloak has a double circular clasp of white pastes.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Main Garment
1c Dress, pink panné velvet, bias cut, early 1930s
During the 1930s, most dresses were cut ‘on the cross’ in tapered panels, which resulted in a slim, clingy, long-legged look. This style suited Doreen naturally, as she was tall, slim and elegant. Made in pale pink panné velvet (a flat pile that catches the light interestingly) it has long ties used to create sculptural swathes around the body, making the most of the draping qualities of the soft velvet. It was probably worn during Doreen’s time in India, 1933-39.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
1d Fan, ostrich feathers and tortoiseshell, 1920s-30s
Large ostrich feather fans were popular in 1923. This fan has a marcasite monogram ‘AS’ and a coronet, for Lady Agatha Sligo, Doreen’s mother. It has blonde tortoiseshell sticks, and the full-length feathers are dyed garnet red.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
le Tiara, pastes on satin, early 1930s
A tiara is a jewelled band worn on the front of the hair. It is an adaptation of the turban of ancient Persia, worn erect by a king and depressed by lower ranks. This example is in the form of tendrils of white pastes, backed with cerise and gold satin. Doreen wore similar tiaras during formal occasions in India.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
1f Clutch bag, Indian brocade, 1930s
‘Clutch’ bags are grasped in the hand, and are generally without a handle. Sometimes, a wrist strap is incorporated. They are exclusively for decorative, formal occasions and usually match the ensemble. This clutch bag has an ‘oriental’ design, rather Persian in feel. It is lined with gold silk and has a zip compartment inside with a mirror and small purse, and probably dates from Doreen’s time in India.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
1g Long gloves, cream kid, 1930s
Throughout the 19th Century kid was used for gloves at all times and was always ‘correct’ and fashionable. White kid gloves are traditionally evening wear. Most were imported from France, or made in England from French kid. At dinner parties, the hands could be freed during the meal, through the buttoned slits.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
1h Handkerchief, coral chiffon, 1930s
Coral silk chiffon, and monogrammed ‘DB’, this handkerchief is simply a decorative accessory, and not for use.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
li Stockings, cream fine knitted silk, 1930s
Stockings like these would have been for summer wear, probably during Doreen’s time in India. Generally, dull finishes were liked in stockings of the 1930s, probably as a reaction to the shiny rayon’s available during the 1920s.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
lj Ankle strap shoes, Indian brocade, 1930s
Whilst in Bombay, Doreen was able to have many pairs of shoes made especially for her by Lee & Co, a Chinese firm. A variety of materials were used, including reptile, co-respondent leathers and plain leather and suede, in styles varying from ankle strap to lace ups and bar shoes. When Doreen returned from India, she clearly liked the ‘Lee & Co’ style so much that she had it copied by other shoemakers. This particular pair is made in oriental brocade, with a ‘Louise Seize’ type heel.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Sundress/Beachwear 1950s
The history of women’s beachwear begins around 1840 when a loose, woollen sack-like dress was worn for bobbing about in the shallows. From the mid to late 19th Century, various styles of serge bathing dresses (overtunic and trousers) were standard, the ‘modern’ one piece, shaped bathing costume developing in the 1930s. This was usually made of wool stockinette, low backed, short-legged with a vest top, and often worn with a white belt.
By the 1950s, elasticated materials were available, especially shirred cotton, which did not show body contours when wet. Seaside fashions typically display dress styles different to our ‘normal’ or working clothes. Often, on holiday we take our newest, fashionable clothes, (sometimes clothes that make us appear of a higher social status than we really are), or garments that express our different, carefree personality in ‘special’ holiday mood.
Main Garment
2a Sundress & bolero, paisley print seersucker, c.1956
Until the 1920s and 1930s, exposing skin to the sun to deliberately tan was considered unsophisticated. Before this, women covered up and remained pale. Cruise liners helped to change attitudes as shipboard travel was for the better off. To prove you had taken an expensive cruise, your skin had to be bronzed. Also, sports and open-air life (and even nudity) were becoming fashionable and regarded as positively health promoting. The dangers of excess ultra-violet exposure were not appreciated until later in the 20th Century. A special type of summer dress, with a strappy, low top to make the most of any sun and a bolero to pop on if the temperature dropped, became fashionable just after the Second War. Doreen owned several brightly-printed sun dress sets. This example is in glazed cotton seersucker (dimpled cotton); printed with clover, lime green, turquoise and purple paisley pine cones on black. It has a self-belt and matching bolero.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Main Garment
2b Strapless swimsuit, shirred seersucker, c.1956
Shirred cotton swimsuits were very popular for children in the 1950s, but this technique of gathering cotton with elasticated thread was also used for adult beach wear. It had the advantage of supporting the figure, yet allowing free movement, and when wet was comfortable, as it had little air pockets in its texture and soon dried. This example is strapless, and could also have been worn under its matching sundress and bolero as a sort of ‘foundation garment’, ready to double up as a swimsuit at a moment’s notice.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
2c Necklaces, lacquered shells, 1950s
Shells have been worn as adornment since prehistoric times. These necklaces are lacquered with a metallic finish in turquoise and hot pink, two colours that feature constantly in Doreen’s wardrobe.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
2d Long scarves, nylon chiffon, 1950s
Nylon was invented in America in 1938, and was quickly marketed as stockings in 1940. By 1941, the Americans were in World War II, with nylon diverted solely for military purposes. Post war, it returned in restricted quantities from 1947, and by the early 1950s it was the new, miracle fashion fabric. Very popular for women’s headscarves, it took a delicate print and was light enough not to damage permed or set hairstyles, whilst it protected them from the wind and sun. Doreen was careful to avoid the sun on her hair after swimming, and always covered her head.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
2e Short gloves, white cotton, late 1950s
Doreen wore gloves with everything. These basic, white cotton summer examples are just one pair of approximately 150 in the Brabourne Collection at Maidstone Museum. The majority are synthetic, with some in wool or cotton and a quantity in leather and suede.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
2f Wedge sandals, white leather, late 1950s
Some accessories become ‘fashion classics’, and never seem to date. These sandals are an example. Wedge heels were seen on women’s slippers of the 18th Century, and have been in and out of fashion since then. Sandals, defined as a sole held on the foot by straps, can be dressy or practical, but are mainly for hot weather wear.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Tweeds Ensemble Late 50s – Early 60s
Tweed is one of the fabrics associated with British rural life, a mainstay for country clothes. Originally linked with the River Tweed in Scotland, the name is thought to be a misreading of ‘tweel’ the Scottish pronunciation of twill. This weave makes diagonal lines which is often the structural weave of mixed tweed. The special woollen yarns are hand-carded (the fibres disentangled with two metal-toothed instruments) but not combed (which is a more refined method of straightening wool fibres using wire teeth in a revolving drum). It is a sturdy, resilient fabric ideal for use outdoors. Its bulkiness demands simplicity of cut, and its rich texture and harmonious colourings look good without ornamentation. The tweed Norfolk jacket was introduced in the 1860s.
Main Garments
3a Jacket & skirt, blue and green tweed, late 1960s
A very simply cut costume consisting of an A-line jacket and skirt. The jacket, with raglan sleeves and plain revers, is single breasted and fastens with 3 toning synthetic buttons. Both are lined with dark green satin. It is made from Irish tweed in emerald and bright greens, mixed with royal and turquoise blues. A kick pleat skirt, dress and long sleeve top form the rest of the ensemble (not shown).
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Main Garment
3b Fitted jumper, emerald lambs-wool, 1940-1950
Short-sleeved, round necked jumper with a deep welt, knitted in very fine, soft wool. Possibly part of a twin set (cardigan and jumper matching) and possibly late 1940s in date, it would be ideal for wearing under this tweed suit.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
3c Necklace, synthetic jade, 1950s
Synthetic jade jewellery was very popular in America during the 1950s. ‘Plastics’ have been used in jewellery since the 1840s. During the 1950s polystyrene was used, and also acrylics in opalescent form.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
3d Neck scarf, stripe woven silk, c.1950
Possibly something to ‘jazz up’ the tweed ensemble, an interesting silk scarf in citrus, cyclamen and jade bands, with delicate florals and sprigs in black.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
3e Elbow length gloves, khaki cotton, c.1950
These gloves have synthetic ‘amber’ press studs, and were made in France.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
3f Sheer stockings, knitted nylon, 1950s
Dark brown, shiny nylon stockings. “Hanes, walking sheer all nylon size 81/2 medium”. These would not have been run-proof, as micromesh, a later type of stocking, had yet to become generally available. Micromesh was not as glamorous as plain knit, fine denier stockings.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Accessories
3g Court shoes, dark brown reptile, 1950s
Another classic style in the court shoe with a medium high heel, in dark brown, dyed reptile. Made by Ferragamo’s workshop, set up in Florence in 1927. Salvatore Ferragamo (1898-1960) was an Italian shoe designer who went to California, making shoes by hand for the American Film Company, and later in Hollywood. He claimed to have invented the wedge heel (see Doreen’s ‘classic white sandals’ information, above).
Given by Lord Brabourne of Mersham-le-Hatch, Ashford in 1980
Shoes-galore (Shoes for many occasions), 1930s – 1970s
Fashion historians and psychologists seem endlessly intrigued by the way women hoard shoes, especially those seldom worn. The erotic symbolism of the small shoe as a metaphor for a virgin-like vagina (or conversely a large shoe as a ‘welcoming vagina’) is well documentated. But as a practical accessory, the shoe is perhaps the most vital one to humans, as without footwear on our soft feet we could not move around our hard-floored, outdoor worlds. If we are attached to footwear emotionally, it is for a good reason; without it we are housebound prisoners.
Doreen’s shoes comprise approximately 150 pairs in the Museum’s collection. About 55 of these date from her time in India during the 1930s, and were hand made especially for her in reptiles, co-respondent leathers, calf, suede and brocades. Obviously, someone with a large and complex wardrobe of garments needs a corresponding range of shoes, bags, hats, gloves, and so on. The interest of Doreen’s footwear lies in its variety and range; from humble folding plastic slippers, exotic sequinned espadrilles, tough riding boots and sophisticated court shoes to trendy 1970s sling backs and comfy ‘Marks and Sparks’ house shoes. The collection forms valuable reference material comprising both special and ordinary examples of footwear in the core years of the 20th Century.
Top Shelf
4a(T) Indoor slippers, beaded black velvet, c.1940-50
Black velveteen, embroidered with yellow glass beads in the form of a basket of flowers. The leather sole, scored to prevent slipping, is stamped ‘Empire made’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4b(T) Chinese slippers, embroidered blue cotton, 1940s
Blue cotton satin, embroidered with Chinese motifs including birds, butterflies and flowers. Lined in cream calico stamped in red ‘KWANG TUNG CHEG TSU CHAI 61/2’ The leather soles are stitched through with hemp thread in a design of two diamonds. Probably a tea merchant’s promotional gift. There are several Chinese garments in the collection.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4c(T) Moccasins, pink leather and coney, c.1950
Moccasins were originally a traditional shoe of soft deerskin worn by native North Americans and trappers. The sole was joined to a U-shaped, flat vamp with no heel. This soft pink example, stamped with a stylised flower and trimmed with brown coney fur (rabbit), is definitely a fashion version.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4d(T) Pakistani slippers, sequinned velvet, 1950s-60s
Black cotton velveteen, embroidered with chain stitch and applied silver sequins. The edges are bound with green leather. The sole is stamped ‘Hanah House, Nicholas Street, Lawrence Road, Karachi MADE IN PAKISTAN” and the heel is one thickness of leather.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4e(T) Evening slippers, basketweave lurex, 1960s
Silver lurex and white polyester flexible textile uppers in a basketweave design. The rosette and silver heel give these slippers an ‘evening wear’ look. The flexible synthetic sole is stamped ‘Bertlyn New York made in USA 578 Med 6-61/2 ALL MAN MADE MATERIALS’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4f(T) Bedroom slippers, faux leopard, c.1960
Wool plush, imitating leopard fur, decorated with a black and gold ribbon, makes these utilitarian slippers glamorous. Bootee styled for extra warmth, they have a spongy, rubber sole.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4g(T) Folding slippers, scribble floral print c.1970
Doreen obviously found this type of folding P.V.C and polyester slipper (in its own plastic press-stud pouch) useful, as there are lots of examples in the collection. They were mainly used when travelling. These slippers are in a bright floral print of vibrant pink, citrus yellows and green, and are made by Pretty Polly ‘Californian styled’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4h(T) Mules, pink fur fabric, c.1970
A backless slipper that can be easily put on without bending, or using the hands. Associated primarily with the bathroom and not normally used for relaxing around the house. This pair in ‘bubblegum’ pink, washable nylon, is ‘Made in Britain, St. Michael’ brand.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Middle Shelf
4a(M) Cuban-heeled sandals, navy leather, 1940-50
These navy sandals, for ‘smart’ wear, have thin straps over the vamp and closed backs. They have low heels in the Cuban shape. Made by Harvey Nichols of Knightsbridge.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4b(M) Espadrilles, sequins and ribbon, 1950s
Braided, corded or rope-soled with a canvas upper, the espadrille originated amongst Mediterranean fishermen. Since the 1950s, they have been a woman’s fashion shoe. This pair is Mexican and in spite of having a workaday sisal sole, is richly sequinned and ties with a fuchsia pink ribbon.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4c(M) Riviera sandals, multicolour canvas, 1950s
This style was first popularised in the late 1930s, for men as well as women. Made of muticoloured canvas straps, they have a canvas covered wedge heel and composition sole. Brand: ‘Jacanth from Lotus’
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4d(M) Ankle straps, perforated tan leather, 1950s
Elastic ankle straps were seen on Victorian shoes of the 1870s. This ankle strap shoe is a type known as ‘open-waisted’ and has an interesting parallel stitched and perforated vamp, for summer wear.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4e(M) Beach sandals, ivory P.V.C, 1950-60
Originally used by children at the seaside when paddling, Plastic sandals were also worn as adult beachwear and revived as brightly-coloured ‘jelly shoes’ in the 1980s and late 1990s, when they had ‘Punk’ associations. This pair is made of moulded ivory P.V.C. Brand: ‘Sarrai Zienne, Made in France’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4f(M) Stiletto evening sandals, lace look, c.1960
Beige lace and silver sequinned sandals, with silver kid sling back straps and elasticated backs. Brand: ‘San Marino by Bective’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford in 1980
4g(M) Sling backs, beige P.V.C. snakeskin, late 1960s
The 1960s was a time of ‘fakes’: Many fake leathers in bright colours were copied in the newly rediscovered P.V.C. Polyvinyl chloride was developed around 1935, and during the Second World War, P.V.C. was used to cover cables as a substitute for rubber. After 1945, it was re-cycled from unwanted cables and used to make the notorious ‘plastic mac’. Like many ’60s fakes, this is not a good visual ‘imitation’ of python. Brand: ‘St Michael’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4h(M) Sling backs, beige leather pompon, c.1970
The sling back first appeared in the Second World War, usually combined with an open toe. This pair in beige leather with a chrysanthemum pompon on the vamp are about 1969, with a Louis type heel of a tall, Cuban shape. Brand: ‘Young Colony, Angelically soft’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Bottom Shelf
4a(B) Langtry shoes, tan reptile, cut brass, late 1920s
Dark tan reptile, with pointed buckled vamp, known as the ‘Langtry’ style (popular in the 1920s). The false buckle is cut brass, representing a flower. The heel is the Louis shape. Made in India (Bombay) by Lee & Co, in the period 1933-39.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4b(B) Co-respondents, tan and white 1930s
These striking court shoes in cream and tan calf, are beautifully punched in a classic design. They have the original hinged beechwood trees, and though not marked, are similar to the shoes made in Bombay for Doreen during the early to late 1930s, by Lee & Co
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4c(B) Summer walking shoes, whitened calf, 1980s
The same classic construction and punched design as the court co-respondent, but completely white, with a tied bandeau over the insteps. The heel is stacked leather. Made by Lee & Co, Bombay, 1933-39.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4d(B) Walking shoes, light tan reptile, 1930s
In light tan reptile (alligator family). A bar shoe variation with a double cut-out strap over the vamp tied with leather tasselled cords. Stacked leather heel. Maker: Flack and Smith, 30 Davies Street, Berkley Square. Reptile leathers were first used in 1871, and enjoyed a major revival in the 1920s.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4e(B) Court shoes, tan reptile, c.1939
Court shoes in light tan reptile, the vamp as interlinked looped straps. Original beechwood hinged shoe trees.
Maker: Flack and Smith, 487 Oxford Street, London W1.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4f(B) Court shoes, cherry calf, 1940s
These smooth calf courts have a punched tab decoration on the vamp and a covered Cuban heel.
Stamped on insole: ‘Made expressly for Gorringes’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4g(B) Ankle strap evening shoes, gold calf, 1940s
Technically, this shoe is an open-waisted ankle strap. It has a covered Cuban heel, and its gold coating is deep, ‘antique’ tone, although much worn in places. Maker: ‘Nanelli, Firenze via Parione’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4h(B) Court shoes, black satin and pastes, mid 1950s
These black satin court shoes have well-proportioned high heels and subtly pointed toes. The vamp is decorated with a black satin bow held with a band of white diamantés. Maker: ‘Miss Rayne’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
Plinth
4a(P) Walking shoes, dark brown calf, 1930s
This is a ‘ghillie’ style shoe, a form of tying the shoe where there are separate facings for each lace and eyelets. This is an old style which goes back to early shoe history, at least 55 BC. They also have a low, stacked heel. A ghillie is a man or boy attending a person hunting or fishing in Scotland, (originally a Highland Chief’s attendant, from the Gaelic ‘gillie’, lad or servant).
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4b(P) Co-respondents, black and white calf, 1930s
Similar in construction to the whitened summer walking shoes, but in black and white calf. Made in Bombay by Lee & Co, between 1933 and 1939.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4c(P) Uniform shoes, black calf, c.1940
These black calf, apron-fronted lace-up shoes are intended for uniform wear, perhaps with Doreen’s Guide Commissioner or St John Ambulance uniforms. Maker: ‘Peel & Co, Oxford Street’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4d(P) Stacked heel lace-ups, tan suede, c.1940
Derby style, suede walking shoes with a stacked leather heel, and 3-hole tie. The top line is serrated. The unusual fact about these shoes is the woman maker: ‘Julie Fitzmaurice, bespoke and surgical bootmaker, Harrogate’.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4e(P) Winter boots, tan leather, lined sheepskin, 1950s
A classic country boot, tough and winter proof. Calf length and lined with sheepskin, they have a full length zip (zips were invented in 1883) for ease of removal, and a non-slip sole and heel.
Maker: ‘Morland, Glastonbury’ (famous for sheepskin products since the 19th Century).
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4f(P) Goloshes, rubberised tweed, 1950s
A golosh (overshoe) came originally from America, having developed from plain rubber pull-ons. In the 1920s they were worn as theatre and carriage boots, with extravagant collars of fur. This pair, in black and grey tweed effect, is trimmed with faux astrakhan (originally the dark, curly fleece of young Russian lambs).
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4g(P) Overboots, synthetic fabric and fake fur, c.1960
A sort of golosh of the late 20th Century, made in black synthetic fabric, and lined with cream synthetic fur, but trimmed with dark brown, sheared sheep wool. The front is laced with chunky cord with a plastic toggle. A synthetic, ridged unit sole dates this pair to after 1960.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
4h(P) Field riding boots, hessian and rubber, 1950s
Field boots (known as ‘riding wellingtons’) made of brown rubber faced with hessian on the calf. They have a leather strap at the top to adjust, and a spur loop at the back of the heel. Maker: (Illustration of huntsmen) and ‘Made in England’ on sole. These appear never to have been worn.
Given by Lord Brabourne of Mersham-le-Hatch, Ashford, in 1980
