Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Numbers in italics refer to pages on which illustrations appear.
advertising: aimed at men, 82; for Aquascutum, 82–83, 83, 84, 87, 95, 96; for Burberry, 84–85, 88; for mackintoshes, 72, 88–89, 89, 185n.3; for used-garment dealers, 149, 152–53, 154, 213n.1
advice manuals, on costumes, 108–9
Aesthetes, The (Turner), 62–63
aesthetic experimentation, 54
After Leaving Mr. Mackenzie (Rhys), 171
“After the Fancy-Dress Ball” (Watts; cartoon), 119
agency: of clothing, 182; of evening gowns, 26–27, 50, 60; evening gowns and, 19, 37, 64; of humans, 100, 216n.48; locus of, 190n.10; mackintoshes and, 19, 72–73, 74, 77, 93; social relations, dependence on, 11–12; of used garments, 146–47; Woolf’s lack of, 46
All Quiet on the Western Front (Remarque), 85
“Am I a Snob?” (Woolf), 44, 128
American Scene, The (James), 12–13, 14
animation: conservation of subjectivity and, 14; of evening gowns, 50, 52, 64; of garments, 13, 158, 187n.18; of mackintoshes, 68, 78, 100; of modern garments, 9–10; of used garments, 172, 179–80
art, fancy-dress balls as, 204n.2
Art and Agency (Gell), 11–12
artists, highbrow, antipathy of, toward used garments, 176
Artists Revels (fancy-dress parties), 127
Ashdown, Mrs. Charles H., 109
B., Lady (character; Diary of a Provincial Lady), 115, 117
backs (human), exposure of, in evening gowns, 32, 36
Bacon and Hams (Nicholls), 105
Baldry, Chris (character; The Return of the Soldier), 74–75
Baroness Elsa (Elsa von Freytag-Loringhoven), 210n.125
Bast, Leonard (character; Howards End), 182
Blimey (character; Not So Quiet), 85–86, 91
Bloom, Leopold (character; Ulysses), 93, 167–68
Bloom, Molly (character; Ulysses), 167–68
Bloomsbury, fancy dress and, 126–30
Board of Trade, on care of clothing, 184
bodies: alignment of military and civil, 83; body/self binary, 126; clothing’s influence on, 210n.125; de-individuated, 100; of donors of used garments, 161, 171; exposure of, in evening gowns, 32, 36–38, 38, 39, 45, 191n.21; female, evening gowns as showcases for, 31–32; as ideas, 16–17; imperviousness of, to costuming, 206n.44; mackintoshes and, 97, 101; sexed, of Orlando, 131–32; of soldiers and officers, 87; things and, 43; used garments and embodiment, 157–58; used garments as marked by, 170
Boomer, Mr. (character; “Simple Stories”), 121–22
Bowling, George (character; Coming Up for Air), 77
Bredon, Death (character; Murder Must Advertise), 137–40
Brenton, Miss (dressmaker), 54–55
Brighton Rock (Greene), 75–77
British Army, mackintoshes for, 70
British Costume During XIX Centuries (Ashdown), 109
Brown family (characters; Vile Bodies), 116
Bruce, Miss (character; “Illusion”), 50–53
“By Their Fruits and Flowers Ye Shall Know Them” (Vogue), 108
Candleford Green (Thompson), 164
carnivals, transgressive nature of, 206n.35
Cheeseman, Mr. (character; Keep the Aspidistra Flying), 218n.95
Chelsea Arts Club Dazzle Ball, 205n.27
“Circe” (Ulysses episode), 93
“Circus Animals’ Desertion, The” (Yeats), 177
Clarkson’s (costume company), 109
class: class societies, fragmented societies vs., 65; depiction of, in Punch cartoons, 118–19, 119; distinctions of, 30, 75, 97; evening dress as materialization of, 29, 32–33; identity, garments as constructors of, 147. See also lower (working) classes; middle classes; society; upper classes
classified advertisements, 90
Cleopatra: Lady Arthur Paget as, 111, 112, Virginia Stephen as, 127–28
closed texts, open texts vs., garments as, 65
clothes and clothing: as chrysalis, 141; distinctiveness of British names for, 6; effects of, on wearers, 3–4, 5; futility of, 190n.6; gray, 169; identity and, 132–35; ordinary, social recognition and, 66–67; performing artists and, 167–68; power of, 8; rationing of, 8, 178–81; ready-to-wear, 70, 180; representations of, as social commentary, 4; snobbery of, 202n.85; social history and, 2; as things, 12–14. See also evening gowns; fancy dress; mackintoshes; objects; used garments; World War II
“Clothes Make the Man” (Keller), 189n.48
Clothing Coupons Trailer (film), 179–80
comedies, in popular culture, used garments and, 158–66
Coming Up for Air (Orwell), 77
conservatism, of evening dress, 33–34
conspicuous consumption, middle-class disapproval of, 206n.31
contexts, problematic nature of, 11
costume balls and parties, 20, 107
courtship rituals, evening gowns and, 31
Covent Garden Fancy Dress Ball, 104–5
Cowley, Father (character; Ulysses), 167
Crome Yellow (Huxley), 61
“Cruise (Letters from a Young Lady of Leisure)” (Waugh), 117
cultural phenomena, clothing as expressive of, 4–5
Cunnington, C. Willett: on day vs. evening clothes, 29; on decoration, traditional forms of, 64; on evening dress and evening gowns, 30, 32, 33; on fashion, democratization of, 156; reversal of process described by, 92; on social recognition, ordinary clothing and, 66–67
Daily Mail, promotion of men’s raincoats in, 82
Daily Mirror, cartoons on aspirational fancy dress in, 119
Daily Telegraph: advertisements for used-garment dealers in, 90; Burberry advertisements in, 84–85, 88; on individuality, 17; Phosferine advertisement in, 81, 81–82
Dalloway, Elizabeth (character; Mrs. Dalloway), 1, 96–97
Danvers, Mrs. (character; Rebecca), 123
de Winter, Caroline (character; Rebecca), 123–24, 125
de Winter, Maxim (character; Rebecca), 3, 99, 122–25
death: association of, with mackintoshes, 2, 85–86, 90–91, 91; representations of evening gowns through, 42, 43–54; of monarchs, 40
Debenham and Freebody (department store), 109
debutantes, evening gowns for, 31–32
depth ontology: aspirational fancy dress and, 118, 125; Barnes on, 210n.125; challenges to, 117, 141, 145; costumes as reinforcing, 114; description of, 106; lack of interest in challenge to, post–World War II, 143; in Orlando, 130–37; Punch’s embrace of, 118; in Sayers, 21; Woolf on, 136
Derry & Toms (department store), 82
desires, of things vs. self, 53
Devonshire House Ball, 111
Devoted Ladies (Keane), 160
Diary of Virginia Woolf (Woolf), 47
Dollard, Ben (character; Ulysses), 167–68
Down and Out in Paris and London (Orwell), 14
dress: democratization of, 21, 30; design of, Morrell’s attitude toward, 55; for evening, 28, 29, 33–34, 190n.8, 192n.41, 197n.124; history of, on clothing circulation, 7; ideology of democracy of, 180–81; literary representations of, 181. See also clothes and clothing; evening gowns; fancy dress; mackintoshes; used garments
Duff Gordon, Lucy, Lady (Lucile), 32
early twentieth century: fancy dress in, 107–14; garments and process of individuation in, 3–4; on power of garments, 8; things in, preoccupation with ontological status of, 9–10
Elizabeth II (queen of England), 142
Elmer, Fanny (character; Jacob’s Room), 130
Elverys (retailer), advertising of mackintoshes by, 185n.3
Encyclopaedia Britannica: on dress as marker of class distinctions, 156; on evening dress, democratization of, 30; on modern women’s dress, evolution of, 34
English Women’s Clothing in the Present Century (Cunnington), 7
Englishness of English Dress, The (Breward, Conekin, and Cox), 7
Eve: advertisements for used-garment dealers in, 149; on modern mackintoshes, 94; on tango craze, 38–39
evening gowns, 18, 25–65, 102; agency of wearer and, 19; bodily exposure in, 32, 36–38, 38, 39, 45, 191n.21; connectedness and, 60, 63; courtship rituals and, 31; for debutantes, 31–32; in films, 36–37; having vs. being and, 29–30; inappropriate, 12; incompatibility of, with intellectual achievement, 47–48; as locus of sorrow, 194n.70; mackintoshes and, 71; in mass-market fiction, 36–37; as materialization of temporality, 29, 32–33; Morrell’s experiments with, 54–64; as particular things, 28–34; in popular culture, 34–43; representations of, through death and failure, 42, 43–54; as showcases for female body, 31–32; singularity and, 68, 82; wearers of, objectification of, 182; women’s desires and, 64–65; World War II and, 23, 178–79; yearning and, 27
Evening News, cartoons on aspirational fancy dress in, 119
exercise/occupation, repose/sex attraction vs., 29
“Extension of the Life of Clothing” (Board of Trade), 184
failure, representations of evening gowns through, 43–54
families, as safe source of used garments, 163–65, 179
fancy dress, 20–21, 102–44; as art, 204n.2; aspirational, 20, 105, 114, 118–26; Bloomsbury and, 126–30; in early twentieth century, 107–14; emergence of, 7; middlebrow representations of, 114–26; in Murder Must Advertise, 137–42; after 1939, 142–43; in Orlando, 130–37; power of, 3; in satire, 115–16; used garments and, 145, 176; World War II and, 23, 178–79
Fancy Dresses Described (Holt), 109, 121
Farquar, Lois (character; The Last September), 77–78, 200n.43
fashion, 4; bodies and, 16–17; fashion industry, 2, 17–18, 34–35; as foreign sovereignty, 39–40; gender ideals of, vs. women’s realities, 44; mackintoshes and, 72, 73, 94; as response to “Woman,” 64; supposed democratization of, 156–57; in Thomson, 165. See also evening gowns
Fashion Museum (Bath), 54
fashionable women, as objects, 48
female bodies, evening gowns as showcases for, 31–32
female volunteers, in World War I, wearing of mackintoshes by, 79–80, 80
fiction. See texts; specific works
film, women in evening gowns in, 36–37
Fink-Nottle, Gussie (character; Right Ho, Jeeves!), 119–21
Fisher, Jeremy (character; The Tale of Jeremy Fisher), 73–74
Flanders, Jacob (character; Jacob’s Room), 130
flat ontology, location of, 17
Fourteenth International Psychoanalytical Congress, 15
Freytag-Loringhoven, Elsa von (Baroness Elsa), 210n.125
friends, used garments procured from, 160
Gaudy Night (Sayers), 141
gender: evening dress as materialization of, 32–33; evening gowns and, 27; fancy dress, gender-bending through, 115; fashion ideals, vs. women’s realities, 44; fluidity of, 133; gender roles, 4, 65; hyper-genderization, evening gowns as means of, 32; income gap and, 173. See also men; women
Gentleman’s Magazine, on mackintoshes, 70
Gentlewoman, on black dresses, 39
Goodyear Tire & Rubber Company, 70
Grey, Margaret (character; The Return of the Soldier), 74–75
group identity, uniforms and, 82
“Hades” (Ulysses episode), 67
Haig, Margaret (Viscountess Rhondda), 42
Harlequin (character; Murder Must Advertise), 137–39
Harrods General Catalogue, advertisements for mackintoshes in, 69
Harrods Weekly Price List, advertisements for mackintoshes in, 88–89, 89
having, being vs., evening gowns and, 29–30
headgear, for fancy dress, 111, 113
heterosexuality, evening gowns as emphasizing, 31
historical fiction, used garments in, 160
historical sense, Eliot on, 55–56
Hollywood, influence of, on fancy dress, 205n.12
How and What to Dance (D’Egville), 108–9, 121
How to “Make-Do-and-Mend” (film), 179
Howards End (Forster), 182
hyper-genderization, evening gowns as means of, 32
Ideas in Things, The (Freedgood), 9
identity: distribution of, 12, 170, 180, 215n.43; fancy dress and, 103–5, 128, 129–30, 131, 135–36; gender, 27; group, 82; individual, mackintoshes and erasure of, 86; locus of, 126; national, mackintoshes and, 70–71; stabilization of, through dress, 173; used garments and, 174, 180. See also depth ontology; individuality (individuation) and individualism; self
Illustrated London News, on black dresses, 41
Illustrated Sporting and Dramatic News, advertisements for mackintoshes in, 72, 87
Illustrated Sunday Herald: on fancy-dress parties for interned soldiers, 107–8; “Through the Eyes of a Woman” (column) in, 108
India Rubber Journal, on mackintoshes, 70
individuality (individuation) and individualism: de-individuation, 72–73, 86–87; fashion industry on, 17; garments and difficulty of, 3–4, 71; mackintoshes and, 93; modernism and, 175; used garments and, 145–47, 166–67, 175; Western formulations of, 212n.3
industrial revolution, individualism and, 4
industrialists, identification of, with middle class, 207n.76
intentionality, of objects, 11
interned soldiers, fancy-dress parties of, 107–8
intimate exchanges, used garments as, 165
IRA members, mackintoshes and, 200n.45
Jeanneret-Gris, Charles-Édouard (Le Corbusier), 175–76, 177
Jeeves (character; “Jeeves and the Dog McIntosh,” Right Ho, Jeeves!), 67, 120–21
“Jeeves and the Dog McIntosh” (Wodehouse), 67
Jenny (character; The Return of the Soldier), 74–75
Jews, association of, with used-garment trade, 167, 217n.65
John Blanford (mackintosh manufacturer), 93, 97
Joy in the Morning (Wodehouse), 143
Joyce, James, 177; mackintoshes in works of, 84, 92–93, 100, 181; Orwell and, 218n.95; on self, clothing’s distribution of, 22; on used garments, 148, 176. See also Ulysses
jumble (rummage) sales, 213n.9
Keep the Aspidistra Flying (Orwell), 218n.95
Ladies Field, on mourning evening dresses, 40
Lady: advertisements for used-garment dealers in, 154; on “new poor,” 152
language, facilitation of dehumanization by, 10
Le Corbusier (Charles-Édouard Jeanneret-Gris), 175–76, 177
lesbians, apparitional quality of, 35, 194n.74
literature. See texts; specific works
“Londoner Out and at Home, The” (Sims), 149
Lucile (Lady Lucy Duff Gordon), 32
Lusitania, sinking of, 42
mackintoshes, 19–20, 66–102; anonymity and, 79, 99–100; arrested development and, 78–79; association of, with death, 2, 85–86, 90–91, 91; association of, with flashers, 7; association of, with violence, 2, 91, 92–93; children and, 1–2, 19, 72–74; commemoration and, 68; commercial history of, 69–72; by fashion designers, 2; IRA members and, 200n.45; legacies of, 98–101; murder and, 101; as muséal objects, 91; national identity and, 70–71; odors of, 70, 77, 94; patenting of, 7; postwar reflections on, and transformations of, 92–98; poverty and, 1, 72–79, 92, 96–97; tartan lining in, 70; in World War II, 23, 179; yachting and, 72; young adults and, 74
IN WORLD WAR I, 79–91; as “armor,” 88; costs of militarism and, 87–89; female volunteers and, 79–80, 80; iconic status of, 81–82; manufacturers’ marketing of, 82–87; names of, 88–89, 89; proliferation of, 79–80; as uniforms, 83–84; used, 90–91
malfunctions, prioritization of objects with, 13
Mann, Frau (character; Nightwood), 210n.125
Marling Hall (Thirkell), 180
Martin, Julia (character; After Leaving Mr. Mackenzie), 171
Martins, Rollo (character; The Third Man), 203n.108
Mary (queen of England), 40
masculine character traits, privileging of, 52
masquerades, marginalization of, 103
masques, differentiation of, from fancy dress, 107
mass-market fiction, evening gowns in, 36–37
Mattamac (mackintosh manufacturer), 93–94, 97
melon (pouf beret) sleeves, 55, 56
men: advertising aimed at, 82; character traits of, privileging of, 52; evening wear for, 28–29, 36; great masculine renunciation, 192n.30
Messel Family Dress Collection, 40
middle classes: clothing expenditures by, 147; disapproval of conspicuous consumption by, 206n.31; fancy dress and, 106, 114, 126, 138–39, 143; new clothing, expectation of, 165–66
middlebrow texts (middlebrow fiction): characteristics of, 175, 177; modernist works and, 5, 182, 186n.8; used garments in, 147–49, 158, 159, 161–62, 183
“Milly’s Old Lavender Gown” (Pilkington), 158–59
Miniver, Mrs. (character; Mrs. Miniver), 183–84
“Modern Gumboot Girls Don’t Care” (photograph), 74
modernism (modernity): cold, 187n.19; high, 141, 166–74; literary, Jameson’s description of, 175; middlebrow and, 5, 182, 186n.8; modern commerce, idealization of, 177; modern experiences, of used garments, 149–58; modern garments, animation of, 9–10; modern world, individualism in, 4; modernist texts (modernist fiction), 137, 147–49, 175, 177, 182; objects in, 187n.27; subjectivity in, 216n.62
Molly Strong Dress Agency, “new poor” and, 153
Momerie, Dian de (character; Murder Must Advertise), 139
Morrell, Ottoline, 18–19, 54–64; aesthetic failures of, 58–59; Beaton’s photograph of, 57, 58; as caricature, 54; evening gowns of, 27–28, 54–55, 56, 56–57; Mabel Waring, comparison with, 59–60; nonconformity of style of, 55, 56, 61–62; queering of, 62–63; sartorial caricatures of, 60–62, 183, 197n.114; tradition, sense of, 55–56; vulnerability of, 63, 188n.37; on Woolf’s and Bell’s fancy dress, 127
murder, mackintoshes and, 101
names: for clothing, distinctiveness of British, 6; of mackintoshes, 88–89, 95; of ordinary clothing, 66–67
National Fabric, The (Goodrum), 7
national identity, mackintoshes and, 70–71
National War Savings Committee, 150, 151
negativity: of experiences, evening gowns as agents for, 27; of fancy dress, 20–21; mackintosh as shorthand for, 69
“Nestor” (Ulysses episode), 93
“new poor”: buying and selling of clothes by, 21; modernism’s lack of treatment of, 5–6; standard of living of, changes in, 152; temporary nature of, 213n.13; used garments, modern experiences of, 149–58; used garments and, 147–48, 159, 161
“New Poor, The” (Thomas; cartoon), 152, 153 Nicholls, George J., 104, 104–5
Noblesse Oblige: An Enquiry into Identifiable Characteristics of the English Aristocracy (Mitford), 69
Northbridge Rectory (Thirkell), 181
Norton, Marda (character; The Last September), 78, 200n.43
Not So Quiet…Stepdaughters of War (Smith), 19, 85–86, 181
objectification: evening gowns and, 31, 48, 182; garments and, 4, 8–9; mackintoshes and, 76, 100; of people, 67–68, 75, 76; poverty and, 76–77; reversal of process of, 92; of self, 15
objects: agency of, 11–12; animated, 78; fashionable women as, 48; human sequentiality and, 99; ignoring of, 52–53; inanimate, 183–84; intentionality of, 11; liveliness conferred by, 123; in mirrors, 189n.53; modernists on, 200n.55; muséal, mackintoshes as, 91; things vs., 11, 13, 187n.30; transformational nature of, 125. See also subjects; things
occupation/exercise, repose/sex attraction vs., 29
odors (smells), of mackintoshes, 70, 77, 94
“Old Bloomsbury” (Woolf), 44
open texts, closed texts vs., garments as, 65
Orchard of Tears, The (Rohmer), 176, 182
ordinary clothing, social recognition and, 66–67
Orlando (Woolf): agency of clothing in, 182; fancy dress in, 21, 106, 127, 130–37, 142, 209n.95; on human–object relationships, 143; illustrations in, 131; Rado on, 210n.118
Oxford English Dictionary: on fancy dress, 20, 103; on mackintoshes, 69
Pankerton, Miss (character; Diary of a Provincial Lady), 115
Parker, Charles (character; Murder Must Advertise), 140
“Penelope” (Ulysses episode), 167–68
performing artists, clothing and, 167–68
“Personal” (Punch story), 71
personhood, garments and difficulty of attaining, 3–4. See also identity
Persons and Things (Johnson), 10
Phosferine, advertisement for, 81, 81–82
Pilkington, Elizabeth C., 158
Pinkie (character; Brighton Rock), 75–76
“Poor Clara” (Beauchamp; cartoon), 25–26, 26, 65
popular culture: comedies of, 158–66; evening gowns in, 34–43
pouf beret (melon) sleeves, 55, 56
power: of clothing, 183; dress as manifestation of, 100; of fancy dress, 3; sharing of, between people and garments, 53; of used garments, 14
Principles of Sociology, The (Spencer), 10
“Proteus” (Ulysses episode), 170
Psychology of Clothes, The (Flügel), 13
CARTOONS IN: on aspirational fancy dress, 118–19; by Beauchamp, 25–26, 26, 65; on class, 118–19, 119; on “new poor,” 152, 153; on used garments, 150, 151, 160–61, 172; on Wilhelm II, 201n.74
Ramsay, Mr. and Mrs. (characters; To the Lighthouse), 182
ready-to-wear clothing, 70, 180
Reassembling the Social (Latour), 11
Rebecca (du Maurier): fancy dress in, 3, 21, 122–26, 144; on human–object relationships, 143; mackintoshes in, 99
Remarque, Erich Maria, 85
repose/sex attraction, exercise/ occupation vs., 29
representation, subject–object distinctions and, 12
Rhondda, Viscountess (Margaret Haig), 42
Rhys, Jean: anti-feminist views of, 190n.2; conclusions on, 177; evening gowns in works of, 18, 27, 43, 50–53; on self, clothing’s distribution of, 22; on used garments, 148, 176; used garments in works of, 171–72
Rose (character; Brighton Rock), 76
rummage (jumble) sales, 213n.9
Runcible, Miss (character; Vile Bodies), 116, 117
rural working-class life, 163–64
Rylands, George “Dadie,” 126–27
Sackville-West, Vita, 131
Salmon and Co. (used-garment dealer), 90
Sartor Resartus (Carlyle), 7
satire, fancy dress in, 115–16
Sayers, Dorothy L.: agency of clothing in works of, 182; depth ontology in works of, 21; fancy dress, enjoyment of, 137, 143; fancy dress in works of, 127, 137–42; mackintoshes in works of, 20, 84, 101; readers of, 212n.155
Scrimgeour, Mary and Grace (characters; Alas, Poor Lady), 146
secondhand style, threat of, 174–77
self: bodies, independence from, 131–32; construction of, class and, 21; dependencies of, 148; distribution of, 12, 22, 162–63; fancy dress and, 20, 127–28, 140–41; gaps in narrative of, 170; garments and construction of, 133–34, 135; garment-selves, 172; looking-glass (mirror, reflected), 15–16, 17, 174, 189n.55, 194n.67; materialization of, 105; nature of, 17; self-awareness, source of, 170; self/body binary, 126; self-consolidation and self-recognition, 16; selfhood, 14–15, 20, 130, 157; self-reflectivity of garments, impact of, 14–15; sex, relationship to, 133; surface, fancy dress and relationship to, 103
Sense of Things, A (Brown), 12
serialization (sequentiality), of individuals: as threat to individuality, 212n.3; through mackintoshes, 99, 182; through used garments, 147, 166, 170–71, 182–83
servants, clothing for, 71
sex and sexuality: clothing’s construction of, 134; fluidity of, 133–34; orientation of, clothing’s construction of, 134; postsubjective, evening gowns’ role in, 27; queering, 62–63, 75, 97, 134; sex appeal/attraction, evening gowns and, 32, 35, 64; sex attraction/repose, exercise/ occupation vs., 29; sexy women, 193n.63
“Shoppers’ and Buyers’ Guide, The” (Vogue), 153
“Simple Stories: The Fancy-Dress Dance” (Moreland), 121–22, 143
“Sirens” (Ulysses episode), 167
“Sketch of the Past, A” (Woolf), 44, 45, 46, 57
Smith, Septimus Warren (character; Mrs. Dalloway), 98
society: fragmented, class vs., 65; social classes, 2, 4; social commentary, clothing as, 4; social events, sartorial conformity of, 60; social history, garments’ engagement with, 2; social position, mackintoshes and, 1–2; social recognition, ordinary clothing and, 66–67; social relationships, 11–12; socialization, dress as manifestation of, 100. See also lower (working) classes; middle classes; upper classes
soft technologies, thingliness of, 13
Spearman, Mrs. (character; “A Solid House”), 172
“Le stade du miroir” (Lacan), 15
Sunday Graphic: on mackintoshes, 94; Rhodes’s serial fiction in, 37–38, 38, 39; “Vogues and Vanities” (column) in, 94
Sunday Pictorial, photographs of mackintoshes in, 74, 80, 80
surface, self vs., fancy dress and, 103
tartan cloth, as lining in mackintoshes, 70
Telegraph, advertisements for used-garment dealers in, 90
Teresa (character; “A Solid House”), 171–72
Testament of Youth (Brittain), 90
texts: clothing in, 181; evening gowns as, 36; highbrow fiction, used garments in, 166; historical fiction, used garments in, 160; mass-market fiction, evening gowns in, 36–37; modernist, 137, 147–49, 175, 177, 182; open vs. closed, garments as, 65; romans à clef, 61–62; significance of, 99. See also middlebrow texts
things: affective response to, 53; becoming persons, 92; bodies and, 43; characters as, 60; evening gowns as animate, 64; garments as, 12; history of, 26; objects vs., 11, 187n.30; in Orlando, 131; people as, mackintoshes and, 67–68, 75, 76; potency of, 114; preoccupation with ontological status of, 9–10; social relationships, impact on, 11; thing theory, 10, 13–15; thing/ person binary, 126. See also objectification; objects
This Was My World (Viscountess Rhondda), 42
Three Guineas (Woolf), 173
Times (London): advertisements for used-garment dealers in, 90; Burberry advertisements in, 86, 87; on mourning dress, 40
To the Lighthouse (Woolf), 182
“Tradition and the Individual Talent” (Eliot), 55–56
Traditional Weatherwear (brand), 71
Triple Fugue (Sitwell), 61–62
“22 Hyde Park Gate” (Woolf), 44
Ulysses (Joyce): “Circe” episode in, 93; Dedalus in, 2, 168–71, 174–76, 217nn.81–82; “Hades” episode in, 67; mackintoshes in, 20, 99, 181; M’Intosh in, 67, 92–93, 99–100, 202n.81; “Nestor” episode in, 93; “Penelope” episode in, 167–68; “Proteus” episode in, 170; “Sirens” episode in, 167; used boots in, 2–3, 170, 172, 175, 217n.81; used garments in, 22, 167, 169
uniforms: armed forces’ code of, 183; Baudrillard on, 87; Craik on, 83; group identity and, 82; mackintoshes as quasi-, 98; used, 90
Unnatural Death (Sayers), 20, 101
upper classes: construction of self and, 21; dangers of fancy dress of, 116; depth ontology and, 106; evening gowns and, 37, 38; fancy dress of, 106, 107, 114–15, 126, 143; mackintoshes and, 75, 97; mourning dress of, 40; new clothing, expectation of, 165–66; news sources for, 94; trench coats for, 84–85
used garments, 21–22, 145–77; “dress agencies” for, 152–53; familiarity of, 163–64; from family, 163–65, 179; from friends, 160; high modernism and, 166–74; market for, 90; “new poor” and, 149–58; Orwell and, 14; popular culture comedies and, 158–66; poverty and, 2; as quasi-subjects, 172; self, impact of, on, 145; serialization of, by fictional characters, 147; in World War II, 23, 179
TRADE IN, 90, 149, 150, 152–54, 161–62, 165; direct seller–buyer transactions, 214n.20; frustrations of, 156; popular representations of, 166; in World War I, 150; in World War II, 180
values, clothing as expressive of, 4–5
Vanity Fair, on evening dress, 28
Victorian era, advertising in, 82
violence, association of, with mackintoshes, 2, 91, 92–93
Vogue: advertisements for used-garment dealers in, 149, 152–53, 213n.15; black dresses in, 40; clothing advice in, 6–7; on costume shops, 109; editors of, 196n.100; on fancy dress, 108; founding of, 7; Lady Abdy in, 111–12, 113; mackintoshes in, 94–95; Morrell in, 57–58, 58; Poiret in, 17
Vogue Pattern Book, on evening dress, 178
war charities, fund-raisers for, 107
“War Economy” (Mills; cartoon), 150, 151
We Have Never Been Modern (Latour), 11
wealth, display of, through fancy dress, 111, 112
Weldon’s Patterns, costume designs in, 108
Wellington, Arthur Wellesley, first Duke of, 67
West, Rebecca: evening gowns in works of, 18, 27, 43, 47–50, 53; mackintoshes in works of, 19, 74–75, 181; self-description of, 194n.70
“What the Butler Saw” (biograph) machines, 35
Whose Body? (Sayers), 101
Why Women Wear Clothes (Cunnington), 66–67
Wilhelm II (kaiser of Germany), 201n.74
Williams, William Carlos, 10
Willis, Mr. (character; Murder Must Advertise), 138–39
Windsor, stories on used garments in, 158–59
women: bodies of, evening gowns as showcases for, 31–32; desires of, evening gowns and, 64–65; evening dress for, 28–29; in evening gowns, modernist representations of, 27; fashionable, as objects, 48; feminist authors, 43–44, 98; femmes fatales, 193n.63; mackintoshes for, 72, 73, 79–80, 80, 94; poverty of, 173; realities of, gender ideals of fashion vs., 44; sportswear for, 33–34; in World War I, 89. See also evening gowns; specific women
Women’s Volunteer Reserve, 80, 80
Women’s Wear Daily, founding of, 7
Woolf, Virginia Stephen: amethysts, as trope for evening dress in memoirs of, 45; on appearances, 47; conclusions on, 177; evening gowns in works of, 18, 27, 43; evening gowns of, 44–47, 53, 193n.56; fancy dress and, 106, 127–30, 136, 143, 208n.89; “frock consciousness” of, 44, 181; on getting dressed, 45; Gilbert on, 208n.79; mackintoshes in works of, 84; on Morrell, 60; on new vs. used garments, 173; on selfhood, 130; on used garments, 148, 176; West’s works and, 203n.93; white satin, as trope for evening dress in memoirs of, 45
Wooster, Bertie (character; “Jeeves and the Dog McIntosh,” Right Ho, Jeeves!), 119–21, 143
World War II: attitudes on clothing during, 22–23, 178–84; fancy dress and, 142; impact of, 7–8
“World’s Worst Failure, The” (West), 47–50
Yeats, William Butler, 177
Young, Sarah Fullerton Monteith (Sally Young), 193n.48