Advertising Ready-Made Style: The Evidence of the Stationers' Hall Archive

References

• This figure is drawn from a survey of the subcategory ‘paintings, drawings and photographs’ 1842 –1900. A survey of both ‘commercial paintings and drawings’ and ‘books commercial’ for 1911–12 added another 500 documents related to selling clothing.
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• Shannon of Walsall and Coop of Wigan: see Clare Rose, ‘The Novelty Consists in the Ornamental Design’: Design Innovation in Mass-Produced Boys’ Clothing, 1840–1900’, Textile History, xxxviii, no. 1 (2007), pp. 1–24.
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• The odd sequence of the box numbers suggests that these were assigned after the series was finished in 1912; up to that date documents may have been referenced by the date of registration.
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• Pearl Costume Cloth by Bancroft of Manchester, The National Archives (hereafter TNA) Copy 1 318/147, 1912.
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• I have identified over 960 registrations by Stedall between TNA Copy 1 112/219 in 1894 and TNA Copy 1 173/123 in 1900; there may be further documents as yet unidentified.
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• Bradford Manufacturing Company in TNA Copy 1 968, September 1898, unnumbered.
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• Allen Foster, TNA Copy 1 972/17775, September 1899.
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• Rose, ‘The Novelty’, pp. 3–6.
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• TNA Copy 1 139/374, March 1898.
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• Bradford Manufacturing Co., TNA Copy 1 968 24 March 1898; Allen Foster & Co., TNA Copy 1 972/17775, September 1899.
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• TNA Copy 1 118/20, April 1895.
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• TNA Copy 1 972/17696, September 1899.
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• Liberty dresses, TNA Copy 1 66/536–9, 1884. Liberty catalogue, TNA Copy 1 box 966, unnumbered, March 1898.
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• Elizabeth Wilson and Lou Taylor, Through the Looking Glass: A History of Dress from 1860 to the Present Day (London: BBC Books, 1989), pp. 33–34.
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• H. J. & D. Nicoll, design for man’s coat, TNA Board of Trade (hereafter BT) 45/393, 1845; H. J. Nicoll, coat, TNA BT 45/5552, 1874.
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• H. J. Nicoll woman’s jacket, TNA Copy 1 52/131, 1881; man’s suit TNA Copy 1 105a/318, 1892.
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• Dickins and Jones, TNA Copy 1 1091/42339, April 1912 by Druaz of Paris; TNA Copy 1 1092/42372, May 1912 by Devambez of Paris.
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• Newbury’s, TNA Copy 1 975/1882 9, May 1900; TNA Copy 1 977/19468, November 1900.
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• Newbury’s, TNA Copy 1 1083/40828, August 1911; 1093/42553, June 1912.
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• Newbury’s blouse, TNA Copy 1 1093/42553, June 1912; costume TNA Copy 1 1079/4009, March 1911.
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• Catesby’s, TNA Copy 1 1089/41849, February 1912.
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• ‘We offer 2s in the £ discount off prices in this list for cash’; Catesby’s, TNA Copy 1 1090/42051, March 1912.
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• TNA Copy 1 972/17534, September 1899.
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• See Paul Johnson, Saving and Spending: The Working-Class Economy in Britain 1870–1939 (Oxford: 1985), p. 152; Sean O’Connell and Chris Reid, ‘Working-Class Consumer Credit in the UK, 1925–60: the Role of the Check Trader’, Economic History Review, lviii, no. 2 (2005), pp. 378–405.
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• Rose, ‘The Novelty’, pp. 11–12.
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• Coop, TNA Copy 1 107a/185, March 1893; Shannon, TNA Copy 1 168/9, January 1900.
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• Stedall, TNA Copy 1 109/429, September 1893.
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• Stedall, TNA Copy 1 133/123–30, 1897.
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• Stedall, TNA Copy 1 972/17696, September 1899.
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• John Barran and Sons, a manufacturer specializing in young boys’ clothing who had registered many garment designs in the TNA Board of Trade series up to 1900 was also registering individual images of their products by 1908. During the sample period 1911–12 they registered 22 such images, in batches such as TNA Copy 1 315/156–63, November 1911. For Barran’s registration of garment designs, see Rose, ‘The Novelty’, pp. 4–8.
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• Clements Newling, TNA Copy 1 98/299, 1891.
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• Richard Taylor registered 308 individual fashion images between TNA Copy 1 117/424 in 1895 and TNA Copy 1 171/239 in 1900.
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• Watts & Co., 136 Tottenham Court Road, TNA Copy 1 134/213–230, 1897.
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• Sir John Causton & Sons, coats: TNA Copy 1 322/47–50, 60–61; ladies’ collars, TNA Copy 1 322/406–8 and 413, June 1912.
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• Noah Waugh, Corsets and Crinolines (London: B. T. Batsford, 1987), pp. 87, 111–12.
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• Worth Corsets, 3 Hanwell St London, TNA Copy 1 1078/40122, February 1911; see also James Coxon of Newcastle, TNA Copy 1 1091/40339, April 1912.
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• Harris & Sheldon, TNA Copy 1 1079/40143, March 1911.
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• Dickins and Jones, TNA Copy 1 1092/42372, May 1912.
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• Sarah Johnson, unpublished paper, ‘New Approaches to Old Sources in 19th Century American Dress History’, Researching the Garment Industry: Sources and Approaches, University of Leeds, 12 September 2007.
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• Steve Zdatny, Hairstyles and Fashion: a Hairdresser’s History of Paris, 1910–20 (Oxford: Berg, 1999), pp. 13–15.
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• Sheet of hair forms registered by Speights Ltd, Classic Works, Dewsbury, TNA Copy 1 1093/42521, June 1912; Tidy-wear fringe nets, Rosenwald Bros, 27 Noble St, London, 1081/40526, June 1911.
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• Newey’s hairpins, TNA Copy 1 322/6872 and 322/ 68708, June 1912. See also hairpin packaging for Jarrett & Rainford of Kent St, London, TNA Copy 1 314/64802–3 1911.
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• Luna and Don Rubber heels, the India Rubber Manufacturing Co., Clayton Manchester, TNA Copy 1 267/ 317, 1908.
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• Hixopad shoe heels, TNA Copy 1 315/65359, 316/65972 316/65799, November–December 1911.
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• D. M. Higgins and Geoffrey Tweedale, ‘The Trade Marks Question and the Lancashire Cotton Textile Industry, 1870–1914’, Textile History, xxvii, no. 2 (1996), pp. 207–28.
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• Lasdro by T. H. Sale, Chorlton, Manchester, TNA Copy 1 147/179 1899; Pearl Costume Cloth by Bancroft of Manchester, TNA Copy 1 318/147, February 1912; Cravenette cloth by Bradford Dyers Ltd, TNA Copy 1 321/145, May 1912.
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• Lou Taylor, ‘Wool Cloth and Gender: The Use of Woollen Cloth in Women’s Dress in Britain, 1865–85’, in Amy de la Haye and Elizabeth Wilson, Defining Dress: Dress as Object, Meaning and Identity (Manchester, 1999), pp. 30–47; Fiona Anderson, ‘This Sporting Cloth’, Textile History, xxxvii, no. 2 (2006), pp. 166–86.
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• John Williamson, single documents for women from TNA Copy 1 62/283 1883; sets of documents for women from TNA Copy 1 86/457–63, 1889.
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• Laura Ugolini, ‘Men, Masculinities and Menswear Advertising, c1890 –1914’, in John Benson and Laura Ugolini eds, A Nation of Shopkeepers, Five Centuries of British Retailing (London: I. B. Tauris, 2003), pp. 90–92.
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• John Noble, ‘half-guinea costume’ poster, TNA Copy 1 115b/334, 1894.
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• Gregory Anderson ed., The White-Blouse Revolution, Female Office Workers since 1870 (Manchester: Manchester University Press, 1988), p. 4.
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• Harold Perkin, The Rise of Professional Society, England since 1880 (London: Routledge, 1989 ), p. 97.
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• Susanne Dohrn, ‘Pioneers in a Dead-End Profession: The First Women Clerks in Banks and Insurance Companies’, in Anderson, White-Blouse Revolution, pp. 48–63.
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• Allen Foster & Co., TNA Copy 1 972/17775, September 1899.
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• Annie Maria Banks, Dressmakers’ drafting system, TNA Copy 1 119/30, 1895.
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• Ellen Ashwell, over 600 documents between TNA Copy 1 112/316, 1894 and TNA Copy 1 142b/269, 1898.
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• Adelaide Claxton, TNA Copy 1 52/131, 1881, for H. J. Nicoll; TNA Copy 1 115b/334, 1894, for John Noble.
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• For example, 20 designs by Claxton for Barkers of Kensington were registered in 1888 (TNA Copy 1 83/161–180 ) followed in 1889 by more designs for H. J. Nicoll (TNA Copy 1 87/321–5).
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• Adelaide Claxton designs for major retailers include three pages of corset illustrations in the 1894 Army and Navy Stores catalogue, House of Fraser archives HF 6/22/9, pp. 889–91 and children’s clothing illustrations in the Harrod’s 1895 catalogue; Alison Adburgham, Victorian Shopping: Harrods’ Catalogue, 1895 (Newton Abbot: David & Charles, 1972), pp. 860–61.
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• TNA Copy 1 63/93 1883, a jacket for Hilder & Godbold, 1–3 Sidney Place, Leicester Square, has ‘Miss A Claxton’ crossed out and replaced by ‘Mrs A Turner’.
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• Claxton patent ear-cap, TNA Copy 1 971/17412; Claxton classical corset, TNA Copy 1 971/ 17413, both January 1900. These designs are both registered to ‘Mr Gordon Turner and Alexander J Warden, Proprietors, trading as Adelaide Claxton’. This suggests an enterprise for which Claxton provided the designs, while the two men provided the capital needed for manufacture. Gordon Turner may have been a relative of Claxton’s by marriage.
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• Wilson and Taylor, pp. 80–82; Bonnie English, A Cultural History of Fashion in the 20th CenturyiFrom the Catwalk to the Sidewalk (Oxford: Berg, 2007), pp. 31–35.
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• John Shannon & Son, Walsall, style sheet for boys, TNA Copy 1 93/94, 1891; New Ideas for Ladies, TNA Copy 1 1083/40966, August 1911.
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• Eric Sigsworth, Montague Burton, the Tailor of Taste (Manchester: Manchester University Press, 1990), pp. 14–21.
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• Rose, ‘The Novelty’, pp. 3–6.
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• Richard Coopey, Sean O’Connell and Dilwyn Porter, Mail Order Retailing in Britain: A Business and Social History (Oxford: Oxford University Press, 2005).
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• One document was registered by Pryce Jones is TNA Copy 1 138a/249, 1898. For more on this firm, see Coopey et aliMail Order Retailing.
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• Liberty, see note 13.
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• Rob Schorman, Selling Style, Clothing and Social Change at the Turn of the Century (Philadelphia: University of Pennsylvania Press, 2003 ), pp. 57–59.
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• Anne Kershen, ‘Morris Cohen and the Origins of the Women’s Wholesale Clothing Industry in the East End,’ Textile History, xxviii, no. 1 (1997 ), pp. 39–46, note 23 p. 44.
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• See Edwina Ehrman, ‘Clothing a World City: 1830 –60’, in Christopher Breward, Edwina Ehrman and Caroline Evans eds, The London LookiFashion from Street to Catwalk (London and New Haven: Yale University Press, 2004), p. 38.
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• Henry Lyons trading as Clayton, ‘tear away’ label, TNA Copy 1 157/403, 1892; 30s suit ticket, TNA Copy 1 970/16901, March 1899.
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