Following on from her post last year, Project Assistant, Ellie Miles, continues her work digitising the Museum of London’s theatrical portraits. “kaleidoscopes of changing pictures, echoes of the past” This is how Robert Louis Stevenson describes the theatrical portraits he collected as a child. I am working with the Museum’s collection of theatrical portraits, to publish them on Collections Online. Whilst researching the collection I read a very enthusiastic essay by Robert Louis Stevenson. The essay was first published in April 1884, in The Magazine of Art, and later that year appeared in Stevenson’s book Memories and Portraits. Stevenson’s essay […]
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The story of London Tweed
So this is how the story goes. In 1826 a London merchant decides to buy some cloth from a weaver in Hawick, a town in the Scottish borders famous for its cloth production. Very happy with his order, he decides to get some more but – crucially – misreads the weaver’s dashed handwriting. Instead of ‘twill’ this Londoner reads ‘tweed’, and assumes this new cloth must take after the River Tweed which runs fast and clear through the textile areas of lower Scotland. ‘Tweed’ and not ’twill’ has been the term used ever since.
A starring role for the Suffragette collection
As curator of the museum’s wonderful Suffragette collection I often welcome ‘important’ visitors to the archive, captivated by the story of the women who endured imprisonment, hunger-strike and even force-feeding in their battle to win the vote.
Rhinestones and Nylon Net
Ever since watching The King and I (1956 version) at a very impressionable age, I have been rather fond of dancing (and crinolines – but that’s another story). My grandmothers and I spent many happy hours marvelling at the clothes, hairstyles and make-up of the participants in the World Championships broadcast on television.