We were delighted to get together again for a face to face meeting at Costessey on Saturday 23rd November for another wonderful afternoon with historical dressmaker Meridith Towne from History Wardrobe.  Here are the lovely reflections of two of our members:

"A wonderful treat to see Meridith Towne; her Mum was absent but one month old son Henry was a beaming presence.
 
Showing off her post baby figure in Lycra, Meridith wanted to draw our attention to the very different attitudes and social mores towards nineteenth century Lady cyclists.  Notice the capital L? These cyclists needed money to obtain a cycle, which although cheaper to buy and maintain than a horse, nevertheless needed a substantial outlay.
 
Cycle manufacturers were astute enough to realise that there was a huge untapped female market: bikes offered freedom from chaperones, and a way to meet friends in a more relaxed setting.  Meridith pointed out that of course cycles needed to be adapted for the female form in response to the moral and physical concerns raised.  Ladies needed to sit upright - or how would they keep their hats on?  Ladies needed to mount and dismount as elegantly as possible, or legs and ankles may be revealed!  Soon a whole Lady cyclist wardrobe evolved.
 
Of course, a Lady cyclist must wear wool.  A Liberty bodice; a corset to stop the figure going “all abroad”; stockings; brogues; a woollen mutton sleeved blouse; a split skirt; a jacket; bow tie and straw boater.  To be a “Scorcher”, bloomers and gaiters also needed to be worn.  All these items were exhibited, and a rather pink Meridith eventually ended up wearing them! 
 
How far have we travelled?  Meridith, (admittedly by car!), all the way from Whitby on a weekend of truly foul weather, and we were so grateful to her.  In terms of cycling and attitudes?  Think Laura Kenny and fellow Olympians."
 
Lorraine Ransome
C&TA member

"On 23rd November 2024, I attended Belles on Bicycles: The Victorian Lady Cyclist, a presentation by Meridith Towne. The Stafford Hall at the Costessey Centre was already buzzing with chat when I arrived and all the front row seats and almost all the second row seats were full. The seats were laid out runway style, as for a fashion show.  It was a miserable cold and windy winter’s day outside, but there was a happy and enthusiastic atmosphere inside. Meridith’s talks are always popular.
 
Attendees were greeted by a table of original Christmas cards by Stephen Worth, with several witty new designs for 2024 (see C&TA online shop). Isobel Auker had put on a display of fascinating recent donations to the C&TA resource collection, including a lovely 1920s evening dress with gold lace and silk flowers which belonged to Phyllis Marjorie Smith, as well as an elaborate black dress, cape and apron dating from c.1900 that had belonged to Emma Cooper. There was a table of items for sale: second-hand books, old magazines and journals, threads and buttons - all very tempting, but I could not justify any purchases as my workroom - which I have just sorted through - somehow still seems to be too full.
 
The Belles on Bicycles talk was given by Meridith Towne, who had her baby with her in Norfolk - a delightful distraction for many of us. As well as recently becoming a new mother, Meridith is multi-talented as an historian and costume maker, and I can recommend an exploration of her website. She apologised that her own mother - her usual trusty assistant - had not been able to make it down from Yorkshire on this occasion.
 
Like her business partner in History Wardobe and author of several books, Lucy Adlington, Meridith is now able to mentioned her own recently published book: Making Late Medieval Menswear, Crowood Publishers, 2024, which demonstrates her impressive range of expertise.
 
This what Meridith says about the talk on her website:

'Wheeeeeeeeeeeeeeeeeeeee! What a ride!
Experience freedom as you cast off your chaperone, sit astride your steed and embrace the new thrilling craze of the bicycle. This lively talk embraces the lives and clothes of the emancipated, cycling women of Victorian England, including the daring few who donned the shocking Bloomer Suit!'
 
Meridith began her talk wearing an eye-popping patterned modern Lycra top and leggings as she time-travelled back to former times, exploring the wonderful world of clothing for cycling over the past century.   She went through the items a Victorian lady cyclist could have worn to engage in this thrilling new pastime and explained that she was inspired to investigate this topic because of the Tour de France which came to Yorkshire for the “Grand Depart” in 2014. During her talk, by adding layers of mostly woollen clothing and explaining their significance, she gradually transformed from a modern cyclist into her 1890s counterpart. She explained most Victorians would wear ordinary outdoor clothes to cycle in; however the more daring riders could have these more functional outfits made especially for them.
 
Meridith covered several interesting topics along the way: notably how the bicycle became popular across all sections of society, how cycling changed our world by allowing more freedom and social mobility, especially for women, and how it continues to do so.
 
She brought along a fascinating display of ephemera and small costume items for us to explore after the talk and stayed to talk with us and allow photos to be taken while we all enjoyed tea and cakes."
 
Helen Durrant
C&TA Member

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To read more about History Wardrobe, click here: www.historywardrobe.com/
To visit Meridith Towne's website, click here: www.meridithtowne.co.uk/
For information about Meridith's book, Making Late Medieval Menswear, click here: Making Late Medieval Menswear - The Crowood Press

The traditional method for large tapestries is to weave from the back, weaving the design from side to side, which makes shading and blending of colours for depicting figures, drapery, architecture etc easier and more effective.   You can see that in the ‘Crossing the Water’ examples illustrated here the blue one is woven from side to side and the red one from top to bottom. The outline of the letters in the blue one are smoother than the red, so a chosen technique will have an impact on how we see the image. ​

​More modern tapestry weavers, where designs may be simpler, tend to weave from the front, and bottom to top.  However, weaving from the front means that a certain technique known as double interlock cannot be used. It is one of the ways of forming joins between blocks of colour and generally seen on historic tapestries.

The diagram below is the double interlock and the reverse detail of a leaf shows that technique.


There have been many discussions between curators and conservators over whether they can identify a tapestry as being woven on a basse or haute lisse loom, in the hope of possibly identifying provenance, but all agree this is nigh impossible!