Lauren Mayers, This Happy Breed Supervisor Bible – BA (Hons) Costume
Lauren Mayers Costume Supervisor’s Bible
Page 3 – 6... Contact Sheet
Page 7... Cast List and Photos
Page 8 - 15... Tech Schedule
Page 16 – 18... Fitting Schedules
Page 19 – 22... Script Breakdown
Page 23 – 31.. Rehearsal Reports
Page 32 – 68... Research
Page 69 – 71... Hire Forms
Page 72 – 84... Estimated Budget
Page 85 – 96... Final Budget
Page 97 - 101... Sustainability Assessment Form
Page 102 – 149... Character Sheet: Frank
Page 150 – 194... Character Sheet: Vi
Page 195 – 214... Character Sheet: Reg
Page 215 – 240... Character Sheet: Mrs Flint
Page 241 - 278... Character Sheet: Bob
Page 279 - 304... Character Sheet: Billy
Page 305 – 330... Character Sheet: Edie
Page 331 – 337… Character Sheet: Danny (ASM)
Page 338... Supplier’ List
Page 339 – 348... List of Figures
Page 349 - 351... Bibliography
Page 352 – 370… Appendix
Contact Sheet
Cast List
Tech Schedule
Fitting Schedules
2nd Fitting Schedule
3rd Fitting Schedule
Script Breakdown
Rehearsal Reports
Research
1920s Womenswear
Fig. 1. Gabrielle Chanel evening dress, 1925, from the MET.
Fig. 2. House of Patou dress, 1927, from the MET.
A popular look that dominated part of the decade was ‘la garçonne’, also known as the flapper dress. It has a dropped waist and a “creeping hemline that could be created in economical fabrics” (FHT, 2018). It is a style that is associated with the 1920s and was primarily popularised by Coco Chanel. The waistlines dropped until 1923 and rose again in 1928. Evening dresses followed the same simple construction but was decorated more ornately. This included beadwork, sequins, and embroidery.
Another popular style that was completely different from the flapper style was the ‘Robe de Style’. These dresses had “long, full skirts, sometimes even with panniers” (FHT, 2018). The style was popularised by Jeanne Lanvin, and they were designed to be romantic and feminine and different from the shapeless silhouette of the flapper dress.
1920s fashion created trends in how the body should be and that androgynous shapes looked better on bodies without curves. Women attempted to achieve this look through diet, exercise, and shaping undergarments. Although the styles were popularised by designers, it was the simplicity that made it easy for the dresses to be recreated at home.
“This, combined with inspiration taken from typical working- class girls’ attire and the use of materials such as jersey and artificial silk, led to what has been deemed a “democratization of fashion” in the 1920s” (FHT, 2018).
Women’s undergarments
Artificial silk, known as Rayon, was used after 1924. It was considered sanitary and breathable and could be “woven or knit in flat or textured fabrics” (Sessions, n.d.).
Underwear was decorated to be just as pretty as outerwear. Decorative techniques included “Chantilly lace, applique, embroidery, pin tucks, picot edging, and ribbon flowers were added to lingerie at the neckline or hem” (Sessions, n.d.). The outerwear of a garment determined the lingerie that a woman wore. Curvy women wore more to “create the illusion of a flattened tube with a few layers” (Sessions, n.d.) whilst thinner women could get away with wearing less.
Corsets had lacing and elastic panels to shape the figure and bones kept the torso flat. It was designed to eliminate curves and flatten the front and back. Corsets were becoming less popular among younger people, particularly flappers, however, as bodies changed and fashion silhouettes evolved, corsets started to be worn on more dressy occasions.
The under bust corset declined in popularity as younger women chose the lightweight corset and brassiere combination. This was made up of a “corselette, corsette, doublette, garter brassiere or girdle corset” (Sessions, n.d.). The corselette had shoulder straps, side fasteners, and perhaps light boning or elastic panels. These were all combined to eliminate curves and create the tube shape that was iconic of the 1920s. Longer corselettes that stretched over the hips created the boyish figure. They were worn with a step -in chemise or cami-knickers with a vest, and a slip “over the corset kept dresses from rubbing on the corset boning and helped with the correct hang of the dress” (Sessions, n.d.).
Fig. 3. 1920s corset with front lacing..
Fig. 4. 1920s/30s girdle from the AUB Archive.
Women’s undergarments
The brassiere was invented for women who did not want to wear a full corselette or corset. It was a “simple rectangle piece of fabric worn tightly across the chest with two 1-inch straps over the shoulders” (Sessions, n.d.), often called a bandeau or bust bodice. Some brassieres were made of brocade or twill cotton. The ‘Symington Side Lacer’ was a bra that pulled in to flatten the chest and laced at both sides. A bust confiner or bandeau with elastic in the back and fastenings on the side also functioned as a 1920s brassiere. They had garter hooks on the front to attach a girdle or waist corset.
Underwear in the 1920s was known as bloomers or knickers. Material became lighter and “less bulky with crepe de chine being very popular, along with silk and cotton” (Sessions, n.d.). They typically had elasticated waists and knee bands, sometimes with a waist yoke in the front and elastic in the back and came in a variety of colours. The waist yokes were cut on the straight- of-grain whilst the side pieces were bias- cut. This allowed for “graceful, fluted folds” (Sessions, n.d.). All-in- ones became popular with women as it combined the camisole and knickers to create the cami-knicker. A skirt drawer was a wide legged pantie and acted as a combination slip and bloomer. The “chemise step -in, envelope chemise, or teddy had no elastic waist and snap or stitched together crotch” (Sessions, n.d.). A separate slip was deemed pointless with the fullness in the skirt.
Slips were an essential garment of the 1920s/30s; they prevented light dress fabric from clinging to the body. Most had ‘opera’ necklines which meant a square neck with ribbon or lace straps, and the silhouette consisted of either a drawstring waist or a linear tube shape. The length varied depending on the dress length but would fall under a few inches of the dress hem and decorated with a flat lace trim. The phrase ‘it’s snowing down south’ was cottoned as a subtle way to tell a woman when her slip or petticoat was showing.
Fig. 5. Bra variations, 1925.
Fig. 6.1927 step -ins, chemise, bloomer and knicker variations..
This dress was worn on her 21 st birthday, so it is a popular style with younger people.
1920s Womenswear
“With waistlines firmly established at hiplevel for some years, skirts waver from above the knee, 192526, down to anklelength by the ’30s. Uneven hemlines help the transition up or down. Day dresses remain short for some years, after long evening gowns become fashionable” (Bradfield, 1997, pg 3634).
Most seams were finished by hand and the edges finely oversewn rather than a rolled hem. There are gathers at the sides of the silk slip only, which is sewn to the dress at the waist and neck.
“Midblue georgette evening dress with ‘handkerchief’ skirt from low hipline. Points hanging below calflevel, with tunic dress straight from shoulder to knee. Short sleeves, with silk lining sleeveless. Silver beadwork at neckline. Pink evening shoes” (Bradfield, 1997, pg 363).
A white slip would have been worn under this dress. The short sleeves are neartransparent but could have been made sleeveless.
The skirt strips are known as ‘handkerchiefs’, and measure 4” x 13” when gathered. They were stitched and slightly overlapped each other. There are a total of 11 handkerchiefs.
7. & 8. 1926 Dress from ‘Costume in Detail’.
Fig.
1929-30s Dress
Fig. 9. 1929-30s dress from Janet Arnold’s Patterns of Fashion 2.
“An evening dress in double layered ivory and black silk gauze, embroidered with pale rose pink leaves and petals, made by Madeleine Vionnet. The photograph of the original model in the collection for October 1929 shows a sash, which is now unfortunately missing. It appeared to be pink georgette to match the embroidery. The bodice is made of a double layer of ivory gauze. The skirt is in two layers, the top in black and the bottom one in ivory gauze. The long floating ties are in a single layer of ivory gauze. All the raw edges are picot- edged. The dress would probably have been worn over an ivory silk crêpe slip cut on the cross, but without any foundation garment, as it fitted a young slim figure” (Arnold, 1972, 78).
Chertsey Museum
This 1925-28 evening gown (fig. 11) is made from black georgette, which is a soft silk crêpe material. It is decorated with lavish black, white and clear glass bugle beads, as well as a “radiating sunray in the centre front and back” (Chertsey Museum, n.d.). The sunray was a classic Art Deco motif that was popular at the time. The gown had a boat-shaped neckline and uneven skirt with bias- cut godets, which are the triangular panels that flare at the bottom that provided fullness and movement.
This pair of stockings (fig 10) from 1920-30 are made from a dark brown knitted rayon, with fine cotton toes, insteps, heels and tops. They took on a new life in the 1920s as skirts became shorter, and beige and brown colours were available for daywear instead of black and white. Rayon stockings were the more affordable version of knitted silk stockings and dominated the market until nylon became popular after World War II.
This 1924-26 cloche hat (fig. 12) is made from black straw and trimmed with a blue ribbon and cotton flower decoration. The style of hat is a staple of 1920s fashion and complimented the “ubiquitous bob haircut” (Chertsey Museum, n.d.).
Fig. 11. 1925-28 evening dress from Chertsey Museum.
Fig. 10. 1920-30 rayon stockings from Chertsey Museum.
Fig. 12. 1924-26 cloche hat from Chertsey Museum.
1920s menswear
Like womenswear, menswear became simpler in the 1920s. During the day, men stopped wearing starched collars and formal 3-piece suits. Pinstripes were popular of the newly worn 1 or 2-button suit jackets, and popular fabrics were flannels and tweeds.
Two new styles of men’s trousers developed in the 1920s: the Oxford bags and the plus-fours. Oxford bags, which were wide-legged trousers that measured between 22 and 44 inches, were worn by Oxford undergraduates and popularised in 1924/5. It is believed that the style “derived from the trousers that rowers on Oxford’s crew teams pulled on over their shorts” (FHT, 2018).
The plus-fours were baggier versions of the original knickers, which were “short-legged trousers that gather around the knee” (FHT, 2018). They had four extra inches of fabric that fastened around the knee, with the excess material hanging over the knee band and creating a baggy look. They were popular golf attire and often wore with a sweater.
Fig. 13. Fashion plate of menswear from 1920-39, from the MET
Fig. 14. Magazine of mid-1920s men and boys' fashion.
1920s men’s Shoes
1920s cap toe Oxford shoes were the most common men’s shoe in dark-brown, black, or red/brown. Dress boots were still common, particularly with a “band across, with small brogue holes for decoration and breathability” (VintageDancer, no date), however, they were only worn by traditional and old-fashioned men. They were replaced with wide box toe or round toe Oxfords and designed to be heavy and chunky looking. Although the toes were wide in the early part of the decade, they became narrower towards the late-1920s.
Wingtip shoes were a variation of the Oxford shoes with a ‘W’ curved line instead of a straight line across the toe and they came in different lengths like “semi, quarter, long wingtip” (VintageDancer, no date). Another popular type of shoe is the two -tone sports shoe. These were Oxford or Wingtip shoes in two different colours, most popular being white and brown. They were made from leather, either patent or matte, or a mix of leather and canvas.
Fig. 15. Men’s shoes 1928.
Fig. 16. 1920s style men’s boots.
1920s men’s Shirts and Undergarments
17. Reg in his wing-collared wedding shirt in This Happy Breed (Lean, 1944).
Spearpoint collars are known for having a narrower back collar band that extends towards the front and lengthens at the collar points. Popular vintage ones usually have a curved / teardrop shape as it defines the period as being 1920s instead of modern or even 1970s, which have the expanding collar as a straight line. Spearpoints typically have a “small amount of spread and tie space, which meant that it can be worn with or without a collar bar/pin” (Wong, 2019). A collar bar/pin would hold the tip of the wing collar down, which would be more appropriate for dressed up looks.
Formalities in social events were relaxed significantly during the First World War and remained that way until after the war. As a result, full- dress was worn less frequently and the stiff-front shirt had some developments. “Although the trend of having a shirt bosom, waistcoat and bow tie of matching piqué continued to grow, this was an expensive perk limited to those who could afford custom tailoring. Consequently, plain linen bosoms remained very popular throughout the period” (Gentleman’s Gazette, 2018).
Both socks and underwear became more colourful for men in the 1920s. White underwear remained popular as a sign of being sanitary. New fabrics like silk, linen, cotton, and a breathable rayon were advertised as more versatile and healthier options for summer.
Boxer shorts became the newest invention in the late 1920s. Brightly coloured stripes were the new trend, but they were slow to catch on. They were inspired by men’s athletic shorts and “popular colours were stripes of pink, pale blue, mauve, and peach in silk or cotton” (Sessions, n.d.).
Fig.
Fig. 18. 1942 fashions in German y –showing a wingcollar shirt and spearcollar shirt.
1930s Menswear
Men’s fashion followed women’s fashion in starting to democratise the twenties. While suits continued to be worn for work and formal occasions, soft- collard shirts and knitted sweaters became popular during the day. Ties became less frequently worn daily. However, formalwear didn’t completely disappear, as tuxedos continued to be popular. New materials, like the synthetic fabric sharkskin, gained popularity for suits in the mid/late 30s.
“While no longer as wide as the previous decade’s Oxford bags, trouser legs continued to be wide at the bottom and worn creased and cuffed. Plus-fours […] continued to be worn by many and tweed continued to be a popular material. When suits were worn, jackets had wide, padded shoulders and tapering sleeves. Perhaps foreshadowing what was to come, military-inspired trends such as the trench coat and the leather “Bomber” jacket also saw popularity in the 1930s as casual outerwear. An endearing image of the Great Depression are men in worn boots, large overcoats, and a flat cap. For some, this was all the fashion they could afford during the thirties” (FHT, 2019).
“The Prince of Wales popularized plus fours in the 1920s. He disliked the traditional style of plus fours with fastenings below the knees, which he found restrictive and uncomfortable. With his tailor, Forster & Son, he developed a loose-fitting version with a soft cotton lining. The Prince of Wales wore them slightly lower than the conventional four inches below the break of the knee. Plus fours became his standard dress for hunting and sporting pursuits. As a keen golfer, he would wear them with brightly coloured Argyle socks and Fair Isle sweaters” (MET, n.d.).
Fig. 20. Close up of the plus fours.
Fig. 19. 1933 Suit from the Metropolitan Museum of Art.
Men’s Accessories
Fig. 21.”Geometrically shaped hat in grey felt with broad black band and projecting knot at the back A very broad black silk or grosgrain indicated deep mourning” (Folledore, 1989, page 62).
Fig. 22.”Brown felt with rounded crown a less formal version of the bowler hat” (Folledore, 1989, page 62).
Argyle socks, with the diamond pattern, became associated with golfers in the 1920s, particularly the Duke of Windsor. It is still associated with golfing uniform today, and argyle patterns continued to be used on vests, sweaters, and socks. After World War II, it became increasingly more popular in everyday wear.
The beginning of the Twentieth Century saw men’s hats undergo a change and assume a variety of styles. Hats continued to be practical in terms of protecting the head from the weather, however it gained a new life in expressing heavy meanings. “The hat, like a royal crown, definitely had an emblematic function, since it was a clear statement of virility, and a means of pleasing or of inspiring respect or even terror” (Folledore, 1989, page 25).
Fig. 23.”Well-proportioned, stylized hat in pale shaved beaver felt, trimmed with a button” (Folledore, 1989, page 62).
Fig. 24. Example of argyle socks.
Rebecca Pride Supervision Workshop
Fig. 26. Clobber Receipts.
27. Finished style on the mannequin.
I wanted to focus on menswear in the dressing task as I enjoy menswear and figured that most people would focus on womenswear. I used the suit that I had picked out for Sam during our fitting for This Happy Breed. The tie and shoes were also taken from the fitting, so I decided to find an appropriate hat in Clobber that would match. The last-minute addition of the Lily of the Valley on the lapel was reminiscent of the fact that he is attending his best friend’s wedding, and it is matching with his wife, Vi.
Fig. 25. Design for Sam from This Happy Breed
Fig.
Military
Naval Uniforms
The British naval uniform as seen during WW2 originates from the middle of the 19th century. Basic service dress for officers consisted of a double-breasted jacket with a “stand-and-fall collar which could have been worn open or closed” (Mollo, 1975, pg 132), two rows of six gold metal buttons, a sword slit above the left pocket, and slashed side pockets with straight flaps. The back also had two vertical strips with a half-belt and a button on each end.
In February 1938, a new tropical dress was introduced which consisted of a white shirt, white shorts, white stockings and canvas shoes. There was also a “khaki service dress with peaked cap cover, single-breasted tunic with four buttons, and patch pockets, and matching long trousers. It was worn with a khaki shirt and tie, and either blue shoulder straps with gold lace rank distinctions, or khaki lace cuff rings” (Mollo, 1975, pg 132). Khaki became increasingly popular with officers in the tropics as the war progressed, and towards the end, the Far East adopted jungle green clothing.
Chief petty officers wore the same as the officers except they had a special cap badge, and they wore their rating badge on their sleeve. Everyday wear for chief petty officers was as shown in fig 28, with the addition of three buttons on the cuff. This same basic uniform was also worn by petty officers and miscellaneous lower rankings (those that were not members of the seaman branch).
Fig. 28. Basic Service Dress.
Fig. 29. Naval buttons for Officer Uniforms –showing the anchor and King’s Crown.
Fig. 30. Plain toecap black shoes worn by a Naval Officer.
Leading Seaman
Leading Seamen – Foul anchor on the upper left sleeve, and sometimes on the front of the helmet. Peaked cap badge embroidered in blue worsted.
Fig. 33. Close up of the Navy Gunner badge.
Fig. 34. “Seaman Gunner badge Pattern 115 of the pre-1938 organisational system” (Brayley, 2014, page 86).
Fig. 31. Billy wearing his Leading Seaman uniform in This Happy Breed (Lean, 1944).
Fig. 35. Billy wearing his Leading Seaman uniform in This Happy Breed (Lean, 1944).
Fig. 32. Close up of the Leading Seaman Rating badge with 2 Good Conduct Stripes.
Leading Seaman
Fig. 36. Image of a “gold wire substantive badge pattern 3 for a Leading Rating worn over a single pattern 42 good conduct badge, indicating three years’ good conduct” (Brayley, 2014, page 68).
Fig. 37. “RNR Reservist of the Royal Naval Reserve Trawler Section. His cap ribbon bears the lettering ‘H.M. MINE SWEEPER’, c. 1916” (Brayley, 2014, page 12).
Fig. 38. “At left is a winter cap with a wire grommet, low crown and blue cloth top, and at right a summer cap with cane grommet, duck top and low crown. Alongside the popular commercial caps these patterns were in use from pre-World War I through to the early 1930s” (Brayley, 2014, page 13).
Regulated uniforms for seamen were slow in their formulation. By the end of the 1700s, a “’best’ uniform was being worn by many seamen, namely long trousers, short blue jacket with white taped seams, neckerchief and a round tarred straw or canvas hat” (Brayley, 2014, page 7). Working dress consisted of canvas trousers and a variety of shirts and headwear. By the start of the 19th century, hat ribbons with the name of the ship painted on them were sometimes worn. For quite some time, the uniform of the crew was determined by the commanding officer of the individual ship.
By the 1850s, there was a degree of uniformity that had been established for a seaman. A blue collar and a round cap with a named ribbon allowed the seaman to become easily recognisable. 1857 is when the first unform regulations for Petty Officers, Seamen, and Boys were established. Authorised uniform consisted of a “Pea Jacket, serge and duck frocks and trousers, Sennit Hat, cap, a silk handkerchief and a comforter. The design of the regulation jackets and other clothing closely followed the clothing types already in widespread use. The white duck clothing was worn with the Sennit Hat as hot weather rig, while the Sennit was also worn with the blue serge frock but covered with black-painted ‘Holland’ fabric.” (Brayley, 2014, page 7). The seaman’s jumper was introduced in 1880, in white duck and blue serge. The jumper was to be worn outside the trousers, whilst the frock would be tucked inside the trousers. A leading seaman wore an anchor badge. “Gunnery instructors wore a gun with crossed cutlass and rifle, seamen gunner's 1st Class wore a gun and crown, and seamen gunner's 2nd Class wore a gun badge” (Brayley, 2014, page 7).
Petty Officer
A Chief Petty Officers (CPOs) badge depicted a crown and anchor encircled by a laurel wreath, whereas a Petty Officer (PO) badge showed a crown and crossed anchors (if they were 1st Class) or an anchor surmounted by a crown (if they were 2nd Class). Before February 1932, the dress jacket worn by Class I and III Ratings had “four buttons on each side, three of which fastened. The upper buttons on each side usually sat below the collar and were not visible, but they were frequently repositioned so that they sat in the notch of the collar. These superfluous upper buttons were removed from jackets in February 1932. New production has two rows of three buttons, three to fasten, spaced equally at between 3 ¼in to 4in, depending on the wearer’s height, with the lowest button being level with the pocket. The old pattern jackets could be used until they were worn out” (Brayley, 2014, page 65).
Fig. 39. Billy in his Petty Officer Uniform in This Happy Breed (Lean, 1944).
Fig. 40. Petty Officer badge.
Fig. 41. Illustration of petty officer’s mess at sea.
Fig. 42. Petty Officer 2nd class and 1st class badge.
Petty Officer
Fig. 43. “Pattern 1 gold wire substantive rate badge for a Petty Officer (PO), worn on the left sleeve above two pattern 42, gold wire, good conduct badges denoting eight years’ good conduct, as worn with No. 1 Dress” (Brayley, 2014, page 67)
Fig. 45. “Cuff buttons on a PO’s double-breasted suit. Purely decorative by the 1930s, originally, they were functional fastenings on Class III double-breasted suits.” (Brayley, 2014, page 67)
Fig. 44.. Close up of Petty Officer badge with 2 good conduct stripes, on Billy’ s Petty Officer uniform in This Happy Breed (Lean, 1944).
Fig. 46. Close up of double cuff buttons on Billy’ s Petty Officer uniform in This Happy Breed (Lean, 1944).
Petty Officer
Cap, Cloth, Blue with Peak
A new pattern of a peaked blue cloth cap for Class I and III Ratings was introduced in 1923. It had a fuller crown and improved shape from those worn in the First World War. “It had a padded crown, leather peak and chinstrap, and a mohair band to which the cap badge was fitted. A white cap cover was worn during the summer months or with white clothing” (Brayley, 2014, page 74).
Cap, with Peak, Lightweight
Research was undertaken in the late 1920s / early 1930s to find a lightweight peaked cap for use by Class I and III Ratings in hotter climates. Many were provided for trials in the Mediterranean, but none were deemed suitable for issue due to the frequent staining from sweat. “The Admiralty eventually designed a cap with a crown of two layers of grey waterproof cloth, its shape maintained by a cane grommet. It had a patent leather peak of 1 3/4 in design and a black mohair band. The quarterings and band were of white duck, and the head leather was perforated for ventilation. The caps, which had to be worn with a Marcellina cover, became available from victualling yards in limited number in 1934” (Brayley, 2014, page 74).
During WWI, military branch POs had been dressed as seamen, with CPOs wearing the “fore-and-aft rig and peaked cap, similar to that worn by Officers” (Brayley, 2014, page 76). It bore a silver fouled anchor cap badge surrounded by a gold wire rope circle and surmounted by a crown on a backing patch of black fabric. In 1919, “the old CPO cap badge was adopted by POs, and a new pattern was approved for CPOs, being a silver metal fouled anchor surrounded by a rope circle within a laurel wreath and surmounted by a crown, all in gold wire. The new badges were introduced in the summer of 1920” (Brayley, 2014, page 76).
“In 1939, just prior to the outbreak of the war, the standard patterns of Ratings cap badges were the gold wire pattern 48 (fig 48) worn by CPO’s, [and] the gold wire pattern 49 (fig 50) worn by POs” (Brayley, 2014, page 76).
Fig 49. “CPO’s ‘Caps, Cloth with Peak’. These were the same caps as used by Class III Ratings but adorned with CPO cap badges. Left is the winter cap with pattern 48 gold badge, and right a cap with white cover and metal war economy badge” (Brayley, 2014, page 74).
48. “Pattern 48 cap badges worn by CPO’s. Left is the standard embroidered pattern, and right is the metal wartime economy pattern” (Brayley, 2014, page 76).
50. “Pattern 49 cap badge as worn by POs. Left is the standard pattern and right is the metal wartime economy version introduced in 1941” (Brayley, 2014, page 76).
Fig
Fig
Fig. 47. Billy holding his Petty Officer hat in This Happy Breed (Lean, 1944).
Petty Officer
Fig. 51. “ Class I and III button types. From left, black horn button for men and acting POs not dressed as seamen; white horn button, drill uniform for men and acting Pos not dressed as seamen; gilt buttons for CPOs and confirmed POs” (Brayley, 2014, page 64).
Fig. 53. “A Petty Officer wears the cloth cap for a studio portrait. He wears the ribbon of the 1939 – 43 star, on fabric backing cloth, on his left breast” (Brayley, 2014, page 74).
Fig. 52. “ A Great War period Class III Rating wearing the long coat with the upper buttons worn exposed at the lapel” (Brayley, 2014, page 14).
Fig. 54. “ The navigating office of HMS Rodney working at the chart table. The Undress Coat – also known as a ‘Reefer; or ‘Monkey’ Jacket – was normal working dress for Officers” (Brayley, 2014, page 26).
Warrant Officer
Fig. 57. “ Undress Coat laced to a Commodor e Second Class of the Royal Navy, the highestranking line officer. The ribbons are the 191415-star, British War medal and Victory medal” (Brayley, 2014, page 27).
Undress Coat
Officers wore the Undress uniform as part of the daily working dress. The Undress coat was doublebreasted with a padded turn-down collar and two rows of four buttons. There was a small pocket on the upper left breast, and at each side of the lower skirt there was a flapless pocket, with the top being in line with the lowest button. Each side of the lower skirt side seams had a 5-inch vent. “Rank lace and coloured distinction cloth fill was worn at the cuff. Midshipmen wore the turnback and button on the collar. Cadets wore the notched hole with the white twist and button. Paymaster Midshipmen and Cadets wore the white branch distinction colour on the cuff” (Brayley, 2014, page 24).
Wartime austerity measures applied to both military and civilian clothing, with the Ratings’ clothing in the Royal Navy (RN) mainly affected. However, “despite the pressures on manufacturers in regard to both availability of fabric, production time and output of garments, the Admiralty insisted that hand finishing was essential in many stages of the production of Officers’ uniforms, compatible with the high standards of tailoring to which naval Officers were accustomed” (Brayley, 2014, page 24). Removing the bespoke standards was allowed on the less important details of construction. However, the Undress coat required hand finishing on the shoulder padding, linings, lapels, collar, buttonholes, and distinction lace. The second row of handstitched buttonholes also remained, despite the fact that they were never used.
Fig. 55. Billy wearing his Warrant Officer uniform in This Happy Breed (Lean, 1944)
Fig. 56. Close up of the single gold stripe and signet ring.
Warrant Officer
Fig. 59. “The Commander of HMS St Vincent, D.L. Neame, photographed in 1938. He wears Undress uniform with the winter cap with peak embroidering as worn by Commodores Second Class, Captains and Commanders” (Brayley, 2014, page 52).
Fig. 58. “Officers’ cap types. Left is a blue cap with Khaki Drill cover for use when dressed in Khaki Drill uniform. Right is a blue cap with white summer cap. Above is a blue cap with cloth-covered peak and oak leaves as worn by Commodores Second Class, Captains and Commanders’ ” (Brayley, 2014, page 51).
Fig. 60. “Above is the small two-thirds-sized beret badge pattern 50 for use with the ‘Beret, Working Dress, Air Crews’ introduced in 1945. Below left is the standard gold wire-embroidered ‘Badge, cap, Pattern 47’, and at right is the ‘Badge, Cap, Pattern 47 (metal)’ introduced in 1941 as a war economy measure” (Brayley, 2014, page 52).
Officers’ Caps
“The Blue Cap had a circular crown of between 9 13/16 inches and 11 5/16 inches, depending on size, with a piped edge. The cap was fitted with a leather chinstrap and a mohair band of 1 ¾ inches. The cap badge was fitted with a mohair band. The White Cap was similar to the Blue Cap but with a crown and quarterings of white horsehair and without edge piping to the crown” (Brayley, 2014, page 50).
Officers’ Cap Badges
1856 saw the introduction of the first cap badge authorised for the use of Officers and Warrant Officers fleet-wide. It depicted a “silver fouled anchor surrounded by a laurel wreath and surmounted by a crown” (Brayley, 2014, page 52). The design saw numerous small changes over the years, but the new approved design in 1920 was the pattern used throughout World War II (as seen in fig 60).
The pattern 47 Officers’ cap badge was an ornate and hand-embroidered gold wire that was only worn of an Officers’ peaked cap. However, there was a severe shortage of the badge when there was an influx of Navy Officers after 1939. The gold wire made the badge expensive to make and production was time-consuming due to the hand-embroidered design. A metal version was introduced in 1941 to alleviate demand.
Military Service Medals
Fig. 62. Front of military medals.
L to R:1914 – 15 Star, War Medal, Victory Medal
Fig. 63. Back of military medals.
Fig. 61. Screenshot of Bob and Frank wearing their medals in This Happy Breed (Lean, 1944).
Military Service Medals
Fig. 64. 1914 – 1915 Star Medal from the IMW.
1914 – 1915 Star Medal
This bronze medal was issued to anyone who served in any aspect of war outside of the UK, between 5th August 1914 and 31st December 1915. They were issued to those who didn’t qualify for the 1914 Star. It is the same as the 1914 Star except “the dates 1914-15 in the centre of the star” (IWM, n.d.). The service number, rank, name and unit of the recipient were engraved into the reverse. It is estimated that 2.4 million 1914-15 Stars were issued. Both the 1914 -15 Star and 1914 Star would not have been awarded alone.
The 1914 Star is similar to the 1914 –1915 Star, with the exception of the dates not being inscribed on the centre. Some had a bronze horizontal bar, with the inscription ‘5th Aug. – 22nd Nov. 1914’. This “distinguished those who had served under enemy fire” (IWM, n.d.). The medals had the recipient’s service number, rank, name and unit on the back, and it was issued to British forces who had served in “France or Belgium from 5 August 1914 (the declaration of war) to midnight 22 November 1914 (the end of the First Battle of Ypres)” (IWM, n.d.). It was mostly awarded to the professional pre-war soldiers of the British Expeditionary Force that were there from the beginning, also known as the ‘Old Contemptibles’. It is estimated that approximately 378,000 1914 Stars were issued.
Fig. 65. British War Medal (1914 – 1920) from the IMW.
British War Medal (1914-1920)
This is a silver medal awarded to men of the British and Imperial Forces who either “entered a theatre of war (an area of active fighting) or served overseas (perhaps as a garrison soldier) between 5 August 1914 and 11 November 1918 inclusive” (IWM, n.d.). It seems the orange, white, black, and blue stripes have no specific significance, despite many other medal ribbons symbolising something. Like the Star medals, the recipient’s rank, name, unit, and service number were inscribed, but this time on the rim of the medal. The front has an image of King George V with a Latin inscription about the King, similar to that of a coin. “The back shows the dates of the First World War and St. George on horseback trampling underfoot the eagle shield of the central powers (German and Austro-Hungarian Empires), with a skull and cross-bones” (IWM, n.d.). It is estimated that 6.4 million of these medals were issued, which shows the scale of the First World War.
Fig. 66. The Allied Victory Medal (1914 – 1919) from the IMW.
The Allied Victory Medal (1914 –1919)
Each of the Allied countries (Great Britain, France, Russia, Italy, Japan) issued their own bronze victory medal with a similar design and identical ribbon. The rainbow represents the calm after the storm and also combines the colours of the Allied nations. “The British version depicts the winged figure of Victory on the front of the medal and on the back, it says 'The Great War for Civilisation 1914-1919’” (IWM, n.d.). To qualify for this medal, you had to have entered an area of active fighting. There were approximately 5.7 million Victory Medals issued.
1920s Bus Conductor Uniform
Bus conductors, whose job it was to sell tickets, were seen waiting at stops and wore the “dark uniform of the company, usually with a gabardine raincoat over the top […] the raincoat was dark navy blue to match the uniform” (Smith, 2003). Most companies had a dark blue uniform, and up to about 1920, most men had an issued small brimless hat with a leather peak and a tunic that buttoned to the neck. There was a shift in the 1920s to a “flat military style cap and a jacket with lapels” (Smith, 2003). Some companies issued a light grey or tan for the conductors, that were made of a light cotton material for summer. Both the driver and conductor would have had two enamel badges worn on the left breast.
Navy blue peak cap, with London Transport badge.
Double-breasted navyblue or black uniform with plain silver buttons. Brown satchel for ticket machine.
Navy-blue / black trousers and plain black shoes
White shirt with standard collar. Black tie.
Insignia showing bus number, which hangs from the buttonhole in the lapel.
Fig. 69. Black and white photograph of a 1935 Bus Conductor.
Fig. 68. Bus and tram uniforms from 1910s to 1950s
Fig. 67. Poster artwork of a 1920s Bus Conductor by Elijah Albert Cox.
Archive
Fig. 70. 1930s floral print dress from the AUB Archive.
Fig. 72. 1920s knit cardigan from the AUB Archive.
Fig. 71. Close up of dart at the waist.
Fig. 74. Close up of brown lace.
Fig. 73. 1930s brown dress from the AUB Archive.
Archive
75. 1920s dress from the AUB archive.
This dress is a silk panne home-made velvet dress. It has been clearly altered over the years. The bodice is cut on the straight grain with double ruching on the centre front bodice seam. The skirt panels are cut asymmetrically over the hip with wheel pieces towards the hem as the fabric is not wide enough.
Fig. 76. Close up of neckline on 1920s dress from the AUB archive.
Fig. 77. Close up of lace on 1920s dress from the AUB archive.
- Ruching down the centre front.
- Cream or off-white lace trim on the neckline and cuffs, which has darkened and become dirty with age.
- Crushed velvet green fabric.
- Small zig-zag stitch on the hem.
Fig.
Archive
This 1930s- day dress is made of black rayon crepe with a Parisian label ‘Rosa Demaizere’. It has a high waistband and jacket overlay on the front panels that is set into the sleeves. It is a bias- cut dress, and the skirt has geometric top stitched panels. There are many seams that have been pieced together due to the width of the fabric. Nine black glass buttons adorn the centre front seam, starting at the V-shaped neckline. The overlay is decorated with a finely pleated edge and frill. The sleeves have a gathered elbow and the openings at the wrist have five covered buttons that are deteriorating.
Fig. 78. 1930s dress from the AUB archive.
Fig. 79. Close up of neckline1920s dress from the AUB archive.
Fig. 80. Close up of buttons 1920s dress from the AUB archive.
Archive
This black chiffon cocktail dress is made of silk crepe georgette and is from 192025. It would have been worn with a slip underneath as it is translucent, and it has a deep v neck with a dropped waist and is sleeveless. The neckline and armholes don’t have bound edges and have crude finishings.
The peplum is 5 ¼ inch of crepe georgette edged with multi- coloured embroidery from the 1920s, in the form of daisies and leaves.
Fig. 81. 1920s black crepe dress from the AUB archive.
Fig. 82. Close up of embroidery at waistline. Fig.83. Close up of daisy and leaves embroidery.
Archive
Fig. 85. Close up of the Marine Engineering badge.
- The badge depicts the insignia of a Royal Navy Marine Engineering.
- The material is a black wool with ribbon at the neck.
- There is a zip on the sailor’s top to fasten down the centre front, which suggests it’s more modern.
- The trousers are long with a wide leg at the bottom.
Fig. 87. Close up of waist.
Fig. 86. Sailor’s trousers from the AUB Archive.
Fig. 84. Sailor’s top from the AUB Archive.
1926 General Strike
The General Strike that Reg and Sam participate in during Act 1 Scene 3 is based on the real General Strike of 1926, starting on the 3rd of May and lasting 9 days. It was called by the Trade Union Congress as a response to the lessening of pay and poor working conditions. It became one of the “largest industrial disputes to take place in British history, with millions of people participating in the nine-day strike, showing the togetherness and solidarity amongst workers” (Brain, n.d.).
Problems leading up to the strike began during World War One; there was high demand for coal which led to a depletion of reserves. By the end of the war, mass unemployment and a fall in exports led to difficulties in the mining industry. Mine owners failed to embrace the modernisation of the industry as other countries like Germany and Polan had, which further impacted the problem. The mining industry was also owned by private owners and not nationalised, which meant that “they were able to make decisions such as cutting pay and increasing hours with no repercussions” (Brain, n.d.). The work became difficult, and miners often suffered injury or death as a result, as the industry continued to fail to support its workers.
The Dawes Plan in 1924 further impacted the British coal industry. It was introduced to “stabilise the German economy and relieve some of the burdens of wartime reparations” (Brain, n.d.). ‘Free coal’ was provided by Germany to the French and Italian markets as a part of reparation plans. This led to the British coal prices plummeting, drastically impacting the domestic market. Churchill’s decision to reinstate the gold standard in 1925 further negatively impacted the industry. It made the British pound too strong against other currencies, which affected the export market and rose interest rates, proving detrimental to business owners.
Mine owners increased working hours and cut wages from £6 to £3.90 over a seven-year period, feeling threatened by the “economic decision-making around them and yet unwilling to concede a declining profit margin” (Brain, n.d.). When mine owners announced that they were reducing wages further, there was uproar from the Miners Federation.
Despite a lot of back-and-forth between the Trade Union and the government, the strike eventually amounted to nothing and many mine workers had to either accept lower wages and longer hours, or face years of unemployment.
Fig. 88. Image from the General Strike, May 1926.
Fig. 89. Special Committee of the General Council of the Trades Union Council, Downing Street.
This Happy Breed Film
I enjoyed watching the film of This Happy Breed before starting this project as it helped me prepare and understand the story and period before sourcing the costumes. I am also glad that I had it to refer to during research and sourcing as it was made in the 1940s, so it is a reliable source to be accurate to the period
Fig. 90 - 94.Screenshots from the film This Happy Breed by David Lean.
Rebellion Costume Hire
Fig. 95. Norfolk Jacket from Rebellion Costume Hire. Fig. 96. Smoking Jacket from Rebellion Costume Hire.
Fig. 97. Waistcoat from Rebellion Costume Hire. Fig. 98. Bowler Hat from Rebellion Costume Hire.
Victoria & Albert Museum
Fig. 99. Evening dress Charles James,1938. Printed silk, designed by Jean Cocteau. Likely made in Paris.
Fig. 100. Bathing costume Meridian (J B Lewis & Sons), about 1925. Made from cotton jersey in Nottingham.
Fig. 101. Evening dress Charles James, 1934. Made in London, from gold satin.
Imperial War Museum
Kaiser Wilhelm II, grandson of Queen Victoria, was the Emperor of Germany. His cousin, Tsar Nicholas II, gave him this Russian cavalry officer’s coat. His love of uniforms reflected Germany itself, where the army strongly influenced politics and society. The Kaiser was born with a withered arm, which explains the shorter sleeve.
This is an example of an army volunteers’ uniform, in the colour ‘Kitchener Blue’. This uniform is an approved War Office ‘sealed pattern’ which manufacturers had to copy. Recruits thought that these substitute uniforms made them look like postmen.
Fig. 103. Volunteer army uniform.
Fig. 102. Russian cavalry officer’s coat.
Noël Coward
Noël Coward was born in 1899 to a working- class family just outside of London. He possessed a natural performative instinct from a young age and was encouraged to attend a dance academy in London by his mother. He entered the professional world of theatre by age 11 and swiftly grew his writing and acting career.
His breakthrough play The Vortex (Coward, 1924) was controversial for its themes of drugs and adultery and “made his name as both actor and playwright in the West End and on Broadway” (noelcoward.com, n.d.). He wrote many successful plays during the 1920s and 30s, including Easy Virtue in 1926, This Year if Grace in 1928, and Bitter Sweet in 1929.
Coward remained a successful playwright, screenwriter, and director during World War II, often entertaining the troops and “acting as an unofficial spy for the Foreign Office” (noelcoward.com, n.d.). Blithe Spirit (Coward, 1941) was written during this time and became one of the most successful plays of the time, lasting for 1997 performances and outlasting the war. This was a West End record until broken by The Mousetrap (Christie, 1947) in 1958. This Happy Breed (Coward, 1939) was written in 1939, with rehearsals underway until told to stop by the declaration of war. During the war, Coward was appointed head Bureau of Propaganda in Paris to liaise with the French Ministry of Information. He visited the US in 1940 to report “American isolationism and attitudes to war in Europe” (noelcoward.com, n.d.). He attempted to return to Paris but was prevented due to German invasion. He instead returned to the US to do propaganda work for the Ministry of Information and continued to spread propaganda throughout Australia and New Zealand and fund-raises for war charities. Coward later received backlash from the public due to seemingly avoiding danger on the Home Front, unaware that he was working for the British government. Throughout the war, he performed This Happy Breed (Coward, 1939) to hospitals and factories, often playing Frank Gibbons himself. He produced the film version directed by David Lean in 1944.
Fig. 104. Photo of Noel Coward.
Peaky Blinders
The first episode of Peaky Blinders is set in 1919, which is when Act 1 Scene 1 of This Happy Breed is set. Watching it helped me understand the importance of men’s clothing and its representation in film, TV, and theatre. The flat caps are typical of the period and the shirts have separate collars. The women wore a mix of straw and cloche hats, and the men primarily wore flat caps and bowlers.
The addition of the armbands on the men’s shirts shows an interesting contrast to an otherwise plain sleeve and helps to break up the same silhouette.
Fig. 105 – 108. Screenshots from the first episode of Peaky Blinders
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Frank
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Fig. 1. Page 33. Gabrielle Chanel evening dress, 1925, from the MET. Source: https://www.metmuseum.org/art/collection/search/80460?sortBy=Relev ance&when=A.D.+1900present&ft=coco+chanel&offset=0&rpp=20&pos=13 Accessed: 11/04/2025.
Fig. 2. Page 33. House of Patou dress, 1927, from the MET. Source: https://www.metmuseum.org/art/collection/search/80844?sortBy=Relev ance&when=A.D.+1900present&ft=jean+patou&offset=20&rpp=20&pos=29 Accessed: 11/04/2025.
Fig. 3. Page 34. 1920s corset with front lacing. Source: https://vintagedancer.com/1920s/lingerie-history/. Accessed: 12/03/2025.
Fig. 4. Page 34. 1920s/30s girdle from the AUB Archive. Accessed: 20/02/2025.
Fig. 7. & 8. Page 36. 1926 Dress from ‘Costume in Detail’. Source: Bradfield, N, (2007) Costume in detail: 1730-1930. New York: Costume & Fashion Press. Accessed: 07/04/2025.
Fig. 9. Page 37. 1929-30s dress from Janet Arnold’s Patterns of Fashion 2. Source: Arnold, J.. (2022) Patterns of fashion 2: The content, cut, construction and context of women’s dress c. 1860-1940. London: The School of Historical Dress. Accessed: 07/04/2025.
Fig. 10. Page 38. 1920-30 rayon stockings from Chertsey Museum. Source: https://www.chertseymuseum.org/RoaringTwenties Accessed: 12/03/2025.
Fig. 11. Page 38. 1925-28 evening dress from Chertsey Museum Source: https://www.chertseymuseum.org/RoaringTwenties Accessed: 12/03/2025.
Fig. 12. Page 38. 1924-26 cloche hat from Chertsey Museum. Source: https://www.chertseymuseum.org/RoaringTwenties Accessed: 12/03/2025.
Fig 13. Page 39. Fashion plate of menswear from 1920-39, from the MET. Source: https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/1 2796. Accessed: 05/05/2025.
Fig. 14. Page 39. Magazine of mid-1920s men and boys' fashion. Source: https://vintagedancer.com/1920s/what- did- men-wear-in-the-1920s/.
Fig. 17. Page 41. Reg in his wing- collared wedding shirt in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy-breed/CFD0695 Accessed: 07/04/2025.
Fig. 18. Page 41. 1942 fashions in Germany – showing a wing- collar shirt and spear- collar shirt. Source: https://www.gentlemansgazette.com/tuxedoblack-tie-guide/vintage- evening-wear/evening- detachable - collar-shirts/ Accessed: 09/04/2025.
Fig. 19. Page 42. 1933 Suit from the Metropolitan Museum of Art. Source: https://www.metmuseum.org/art/collection/search/82240 Accessed: 10/04/2025.
Fig. 20. Page 42. Close up of the plus fours. Source: https://www.metmuseum.org/art/collection/search/82240. Accessed: 10/04/2025.
Fig. 21. Page 43. Geometrically shaped hat in grey felt with broad black band and projecting knot at the back A very broad black silk or grosgrain indicated deep mourning” (Folledore, 1989, page 62). Source: Folledore, G. (1989) Men’s Hats. Modena, Italy: Zanfi Editori. Accessed: 26/04/2025.
Fig. 22. Page 43. ”Brown felt with rounded crown a less formal version of the bowler hat” (Folledore, 1989, page 62). Source: Folledore, G. (1989) Men’s Hats. Modena, Italy: Zanfi Editori. Accessed: 26/04/2025.
Fig. 23. Page 43. “Well-proportioned, stylized hat in pale shaved beaver felt, trimmed with a button” (Folledore, 1989, page 62). Source: Folledore, G. (1989) Men’s Hats. Modena, Italy: Zanfi Editori. Accessed: 26/04/2025.
Fig. 24. Page 43. Example of argyle socks. Source: Joseph Turner (n.d.) A short history of argyle socks. Available at: https://www.josephturner.co.uk/news/2016/11/17/a -short-history- ofargyle-socks. Accessed: 27/04/2025.
Fig. 25. Page 44. Design for Sam for This Happy Breed by Katie Fealy.
Fig. 26. Page 44. Clobber Receipt.
Fig. 27. Page 44. Finished style on the mannequin.
Fig. 28. Page 45. Basic Service Dress. Source: Mollo, A. (1976) Naval, Marine, and Air Force Uniforms of World War 2. New York: Macmillan. Accessed: 07/04/2025.
Fig. 29. Page 45. Naval buttons for Officer Uniforms – showing the anchor and King’s Crown. Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK). Accessed: 07/04/2025.
Fig. 30. Page 45. Plain black shoes worn by a Naval Officer. Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK). Accessed: 07/04/2025.
Fig. 31. Page 46. Billy wearing his Leading Seaman uniform in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy- breed/CFD0695 Accessed: 07/04/2025.
Fig. 32. Page 46. Close up of the Leading Seaman Rating badge with 2 Good Conduct Stripes. Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy- breed/CFD0695. Accessed: 07/04/2025.
Fig. 33. Page 46. Close up of the Navy Gunner badge. Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happybreed/CFD0695. Accessed: 07/04/2025.
Fig. 34. Page 46.“Seaman Gunner badge Pattern 115 of the pre-1938 organisational system” (Brayley, 2014, page 86). Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK). Accessed: 07/04/2025.
Fig. 35. Page 46. Billy wearing his Leading Seaman uniform in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy- breed/CFD0695. Accessed: 07/04/2025.
Fig. 36. Page 47. “Image of a “gold wire substantive badge pattern 3 for a Leading Rating worn over a single pattern 42 good conduct badge, indicating three years’ good conduct” (Brayley, 2014, page 68). Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK). Accessed: 07/04/2025.
Fig. 37. Page 47. “RNR Reservist of the Royal Naval Reserve Trawler Section. His cap ribbon bears the lettering ‘H.M. MINE SWEEPER’, c. 1916” (Brayley, 2014, page 12). Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK). Accessed: 07/04/2025.
Fig. 38. Page 47. “At left is a winter cap with a wire grommet, low crown and blue cloth top, and at right a summer cap with cane grommet, duck top and low crown. Alongside the popular commercial caps these patterns were in use from preWorld War I through to the early 1930s” (Brayley, 2014, page 13).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 39. Page 48. Billy in his Petty Officer Uniform in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy- breed/CFD0695 Accessed: 07/04/2025.
Fig. 41. Page 48. Illustration of petty officer’s mess at sea. Source: https://www.rmg.co.uk/collections/objects/rmgc- object-266564. Accessed: 12/03/2025.
Fig. 42. Page 48. Petty Officer 2nd class and 1st class badge. Source: https://www.commsmuseum.co.uk/dykes/warrant/warrant1.htm Accessed: 12/03/2025.
Fig. 43. Page 49. “Pattern 1 gold wire substantive rate badge for a Petty Officer (PO), worn on the left sleeve above two pattern 42, gold wire, good conduct badges denoting eight years’ good conduct, as worn with No. 1 Dress” (Brayley, 2014, page 67).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK). Accessed: 07/04/2025.
Fig. 44. Page 49. Close up of Petty Officer badge with 2 good conduct stripes, on Billy’ s Petty Officer uniform in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/thishappy-breed/CFD0695 Accessed: 07/04/2025.
Fig. 45. Page 49. “Cuff buttons on a PO’s double-breasted suit. Purely decorative by the 1930s, originally, they were functional fastenings on Class III double-breasted suits.” (Brayley, 2014, page 67). Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK). Accessed: 07/04/2025.
Fig. 46. Page 49. Close up of double cuff buttons on Billy’ s Petty Officer uniform in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy-breed/CFD0695. Accessed: 07/04/2025.
Fig. 47. Page 50. Billy holding his Petty Officer hat in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy- breed/CFD0695. Accessed: 07/04/2025.
Fig. 48. Page 50. “Pattern 48 cap badges worn by CPO’s. Left is the standard embroidered pattern, and right is the metal wartime economy pattern” (Brayley, 2014, page 76). Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 49. Page 50. “CPO’s ‘Caps, Cloth with Peak’. These were the same caps as used by Class III Ratings but adorned with CPO cap badges. Left is the winter cap with pattern 48 gold badge, and right a cap with white cover and metal war economy badge” (Brayley, 2014, page 74).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 50. Page 50. “Pattern 49 cap badge as worn by POs. Left is the standard pattern and right is the metal wartime economy version introduced in 1941” (Brayley, 2014, page 76).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 51. Page 51. “ Class I and III button types. From left, black horn button for men and acting POs not dressed as seamen; white horn button, drill uniform for men and acting Pos not dressed as seamen; gilt buttons for CPOs and confirmed POs” (Brayley, 2014, page 64).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 52. Page 51. “ A Great War period Class III Rating wearing the long coat with the upper buttons worn exposed at the lapel” (Brayley, 2014, page 14).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 53. Page 51. “A Petty Officer wears the cloth cap for a studio portrait. He wears the ribbon of the 1939 – 43 star, on fabric backing cloth, on his left breast” (Brayley, 2014, page 74).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 54. Page 51. “ The navigating office of HMS Rodney working at the chart table. The Undress Coat – also known as a ‘Reefer; or ‘Monkey’ Jacket – was normal working dress for Officers” (Brayley, 2014, page 26).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 55. Page 52. Billy wearing his Warrant Officer uniform in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy- breed/CFD0695. Accessed: 07/04/2025.
Fig. 56. Page 52. Close up of the single gold stripe and signet ring. Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/thishappy-breed/CFD0695
Accessed: 07/04/2025.
Fig. 57. Page 52. Undress Coat laced to a Commodore Second Class of the Royal Navy, the highest-ranking line officer. The ribbons are the 1914-15-star, British War medal and Victory medal” (Brayley, 2014, page 27).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 58. Page 53. “Officers’ cap types. Left is a blue cap with Khaki Drill cover for use when dressed in Khaki Drill uniform. Right is a blue cap with white summer cap. Above is a blue cap with cloth- covered peak and oak leaves as worn by Commodores Second Class, Captains and Commanders’ ” (Brayley, 2014, page 51).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 59. Page 53. “The Commander of HMS St Vincent, D.L. Neame, photographed in 1938. He wears Undress uniform with the winter cap with peak embroidering as worn by Commodores Second Class, Captains and Commanders” (Brayley, 2014, page 52).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 60. Page 53. “Above is the small two -thirds-sized beret badge pattern 50 for use with the ‘Beret, Working Dress, Air Crews’ introduced in 1945. Below left is the standard gold wire- embroidered ‘Badge, cap, Pattern 47’, and at right is the ‘Badge, Cap, Pattern 47 (metal)’ introduced in 1941 as a war economy measure” (Brayley, 2014, page 52).
Source: Brayley, M.J (2014) Royal Navy uniforms 1930-1945. Crowood Press (UK).
Accessed: 07/04/2025.
Fig. 61. Page 54. Screenshot of Bob and Frank wearing their medals in This Happy Breed (Lean, 1944). Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy- breed/CFD0695. Accessed: 07/04/2025.
Fig. 62. Page 54. Front of military medals. L to R:1914 – 15 Star, War Medal, Victory Medal. Source: https://emuseum.aberdeencity.gov.uk/objects/141897/19141915- star-warmedal-and-victory-medal Accessed: 07/04/2025.
Fig. 63. Page 54. Back of military medals. Source: https://emuseum.aberdeencity.gov.uk/objects/141897/19141915- star-warmedal-and-victory-medal Accessed: 07/04/2025.
Fig. 64. Page 55. 1914 – 1915 Star Medal from the IMW. Source: https://www.iwm.org.uk/history/first-world-war-service-medals Accessed: 07/04/2025
Fig 65. Page 55. British War Medal (1914 – 1920) from the IMW. Source: https://www.iwm.org.uk/history/first-world-war-service-medals Accessed: 07/04/2025
Fig 66. Page 55. The Allied Victory Medal (1914 – 1919) from the IMW. Source: https://www.iwm.org.uk/history/first-world-war-service-medals. Accessed: 07/04/2025
Fig. 67. Page 56. Poster artwork of a 1920s Bus Conductor by Elijah Albert Cox. Source: https://www.ltmuseum.co.uk/collections/collections- online/artwork/item/199134 Accessed: 07/04/2025.
Fig. 68. Page 56. Bus and tram uniforms from 1910s to 1950s. Source: https://igg.org.uk/rail/00-app1/civuni.htm#:~:text=Women%20conductors%20often%20wore%20trousers,silver %20and%20grey%20ticket%20machine Accessed: 07/04/2025.
Fig. 69. Page 56. Black and white photograph of a 1935 Bus Conductor. Source: https://www.ltmuseum.co.uk/collections/collectionsonline/photographs/item/1998 -86007 Accessed: 07/04/2025.
Fig. 70. Page 57. 1930s floral print dress from the AUB Archive. Accessed: 20/02/2025.
Fig 71 Page 57. Close up of dart at the waist. Accessed: 20/02/2025.
Fig. 72. Page 57. 1920s knit cardigan from the AUB Archive. Accessed: 20/02/2025.
Fig. 73. Page 57. 1930s brown dress from the AUB Archive. Accessed: 20/02/2025.
Fig. 74. Page 57. Close up of brown lace. Accessed: 20/02/2025.
Fig. 75. Page 58. 1920s dress from the AUB archive. Accessed: 20/02/2025.
Fig 76. Page 58. Close up of neckline on 1920s dress from the AUB archive. Accessed: 20/02/2025.
Fig 77. Page 58. Close up of lace on 1920s dress from the AUB archive. Accessed: 20/02/2025.
Fig. 78. Page 59. 1930s dress from the AUB archive. Accessed: 20/02/2025.
Fig. 79. Page 59. Close up of neckline1920s dress from the AUB archive. Accessed: 20/02/2025.
Fig. 80. Page 59. Close up of buttons 1920s dress from the AUB archive. Accessed: 20/02/2025.
Fig. 81. Page 60. 1920s black crepe dress from the AUB archive. Accessed: 20/02/2025
Fig. 82. Page 60. Close up of embroidery at waistline Accessed: 20/02/2025
Fig. 83. Page 60. Close up of daisy and leaves embroidery Accessed: 20/02/2025
Fig. 84. Page 61. Sailor’s top from the AUB Archive. Accessed: 20/02/2025
Fig. 85. Page 61. Close up of the Marine Engineering badge. Accessed: 20/02/2025
Fig. 86. Page 61. Sailor’s trousers from the AUB Archive. Accessed: 20/02/2025
Fig. 87. Page 61. Close up of waist. Accessed: 20/02/2025
Fig. 88. Page 62. Image from the General Strike, May 1926. Source: https://www.historic-uk.com/HistoryUK/HistoryofBritain/General-Strike1926/. Accessed: 12/03/2025.
Fig. 89. Page 62. Special Committee of the General Council of the Trades Union Council, Downing Street. Source: https://www.historicuk.com/HistoryUK/HistoryofBritain/General-Strike-1926/. Accessed: 12/03/2025.
Fig. 90 – 94. Page 63. Screenshots from the film This Happy Breed by David Lean. Source: Lean, D (1944) This Happy Breed, ITVX. Available at: https://www.itv.com/watch/this-happy- breed/CFD0695 Accessed: 07/04/2025.
Fig. 95. Page 64. Norfolk Jacket from Rebellion Costume Hire. Photo taken by author at Rebellion Flame Costume Hire. Date accessed: 01/04/2025.
Fig. 96. Page 64. Smoking Jacket from Rebellion Costume Hire. Photo taken by author at Rebellion Flame Costume Hire. Date accessed: 01/04/2025.
Fig. 97. Page 64. Waistcoat from Rebellion Costume Hire. Photo taken by author at Rebellion Flame Costume Hire. Date accessed: 01/04/2025.
Fig. 98. Page 64. Bowler Hat from Rebellion Costume Hire. Photo taken by author at Rebellion Flame Costume Hire. Date accessed: 01/04/2025.
Fig. 99. Page 65. Evening dress Charles James,1938. Printed silk, designed by Jean Cocteau. Likely made in Paris. Photo taken by author at the V&A.
Date Accessed: 16/04/2025.
Fig. 100. Page 65. Bathing costume Meridian (J B Lewis & Sons), about 1925. Made from cotton jersey in Nottingham. Photo taken by author at the V&A. Date Accessed: 16/04/2025.
Fig. 101. Page 65. Evening dress Charles James, 1934. Made in London, from gold satin. Photo taken by author at the V&A.
Date Accessed: 16/04/2025.
Fig. 102. Page 66. Russian cavalry officer’s coat. Photo taken by author at the IWM. Date Accessed: 16/04/2025.
Fig. 103. Page 66. Volunteer army uniform. Photo taken by author at the IWM. Date Accessed: 16/04/2025.
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Appendix
‘I like This Boy’ Grad Film
Watching a scene from the dressing room.
Before and After of removing a pencil mark from a white dress. I used a rubber, vanish, and water.
I assisted costume designers Megan Shrives and Charlie Dorey on their grad film ‘I Like This Boy’. I supported by ironing costumes and checking the costumes worn by the extras, as well as removing a pencil mark from the only clean, white dress available. I really enjoyed the experience of being on-set and comparing it to being backstage in a theatre.
The costume rail at Elliot Road. Megan and Charlie painting blood on the main character for the heart scene.
‘I like
This Boy’ Grad Film
Images from ‘I Like This Boy’.
Alterations for ‘the Visit’
Creating a placket for a dress to be able to move the buttons and make it bigger.
Taking trousers in at the waist by 2 inches. I also cut the trousers at the hem and hemmed them. Cutting off the excess made the hem sit flatter.
I added poppers to a shirt to make it quick change. I replaced the black cuff buttons on a jacket with red and gold. I added some petersham ribbon to the back of a tie and added a poppers to it to make it quick change.
