A bright fuchsia evening gown displayed on a headless mannequin. The gown is strapless with a diagonally draped bodice and a full, tapered skirt that narrows at the hem into soft points resembling petals. The fabric has a subtle circular jacquard pattern visible across the surface. A second close-up image shows the bodice in detail, highlighting the rich pink color, the textured pattern of large woven circles, and the gathered, angled folds of the fabric. The caption beneath notes that the gown was designed by Bruce Oldfield around 1980–82 and is part of The Olive Matthews Collection at Chertsey Museum, photographed by John Chase Photography.

#FridayFrocks #SpringFlowers: This evening gown c.1980–82, was designed by Bruce Oldfield. Made from figured silk, it resembles a tulip flower. The bodice has a single shoulder strap supporting a petal-shaped panel. The skirt features 5 further bias-cut petals.

Two-view image of a late 19th‑century ball gown. On the left is a close‑up of detailed embroidery showing a large purple and lavender coloured iris flower with green leaves and stems on a rich golden-yellow satin background. On the right is the full gown displayed on a dress form: a floor‑length, golden satin evening dress with a trained skirt, decorated throughout with embroidered purple flowers and green vines. The bodice is off‑the‑shoulder with ornate beaded embellishment, and the hem is lined with a pale lilac underskirt. Caption reads: 'Ball gown, c. 1898–1902 © The Olive Matthews Collection, Chertsey Museum. Photos by John Chase Photography.

#FridayFrocks #SpringFlowers - Ball gown, c.1898–1902, featuring beautiful embroidered irises. These wind their way up the bodice and down the skirt. It consists of chenille work with silk chiffon and velvet appliqué.

A late 18th‑century printed linen gown displayed on a dress form. The gown, dated around 1777–1780, is made from pale linen patterned with small scattered floral motifs in muted reds and blues. It has a fitted bodice with a pointed front, three‑quarter‑length sleeves, and a full, floor‑length skirt. The left image shows the full front view of the gown, while the right image provides a close‑up of the back, highlighting the gathered fabric and pleating at the waist. Photographed for the Olive Matthews Collection at Chertsey Museum by John Chase Photography.

#FridayFrocks #SpringFlowers: Open robe, c.1777 – 80 made from linen which has been block printed with a floral sprig design. The colours are pencilled, or painted, by hand.

A 1930s afternoon ensemble is displayed on a mannequin. The dress is long and black, made from sheer lace layered over printed fabric featuring soft pastel floral patterns in shades of lilac, white, and pale blue. The bodice and sleeves are made of delicate black lace, allowing the floral design beneath to show through. The skirt flares gently toward the hem, with the floral motifs arranged in cascading clusters. Beside the dress, a matching decorative fan with coordinating floral details and a purple ribbon is positioned on a clear stand. The close‑up image highlights the fine lace texture and the intricate placement of the floral prints. Text beneath the images credits the Olive Matthews Collection at Chertsey Museum and photographer John Chase.

#FridayFrocks #SpringFlowers - Afternoon ensemble of black lace and net, c.1935-39. It features dramatic panels of printed floral silk with a wisteria or lilac design. These have been cut out and applied over the lace.

#FridayFrocks #SpringFlowers: A man’s waistcoat, c.1775–80 of fresh green silk satin with floral embroidery in tambour-work and satin stitch. This waistcoat may once have formed part of a three-piece suit.

A cream satin ball gown from around 1901 displayed on a dress form. The gown has elbow‑length sheer puffed sleeves, a draped neckline trimmed with lace, and an A‑line skirt. It is richly decorated with hand‑embroidered floral motifs, beadwork, and sequins in metallic tones. A close‑up image shows detailed embroidery at the bodice, including flowers, leaves, and looping ribbon designs worked in gold, green, and jewel-like beads. The gown is part of The Olive Matthews Collection at Chertsey Museum.

#FridayFrocks #Embroidery - gown, c.1901, by a ‘Court Dressmaker’ ‘Madame Clapham’. It is hand embroidered with floral sprays in silks, metalwork, opalescent sequins, paste stones, seed pearls and glass beadwork.

Two photographs of a late 19th‑ to early 20th‑century hand‑embroidered cream waistcoat displayed on a mannequin. The full view shows a deep V‑neck waistcoat with curved fronts, five turquoise‑coloured buttons, and floral embroidery along the lapels, pockets, and front edges. The close‑up image highlights the delicate pastel embroidery of flowers and ribbon motifs stitched along the lapel on the smooth silk fabric.

#FridayFrocks #Embroidery A man’s waistcoat of cream silk satin, c.1895 - 1905. It’s likely to have been a wedding waistcoat, with motifs that were meaningful for the wearer. These include baskets, bows and hunting horns.

A tall, triangular 18th‑century embroidered stomacher, wider at the top and tapering to a narrow point at the bottom. The background fabric is a soft gold tone, densely decorated with hand‑stitched floral motifs. Bright red flowers with layered petals and green stems and leaves run vertically down the centre, framed by twisting gold braids and metallic thread. Small yellow tabs are attached around the edges for fastening to a gown. A close‑up image on the right shows the fine detail of the embroidery, including shimmering gold threads, raised couched work, and vividly coloured silk stitching.

#FridayFrocks #Embroidery - Stomacher, c.1725–35. Silver embroidered background with a flower pattern in colourful silks and gold thread. Stomachers were decorative panels worn at the front of a bodice to fill in the central gap between the two sides of a dress.

#FridayFrocks #Embroidery. A very special apron, c.1730 – 50: It is made from silk taffeta and hand embroidered in gilt metal threads and silks. Aprons were worn by women at all levels of society, but this decorative type was a fashion accessory and served no practical purpose.

#FridayFrocks #Flounces. Rayon evening gown, c.1946 – 1947. It has a deep flounce or peplum. A stylish piece, it perhaps owes more to the fashions of the late 1930s than to the post-war period.

#FridayFrocks #Flounces - an evening gown, c.1940-45, of rayon, with waterfall #Flounces falling to the floor-length hemline. The style is typical of the late 1930s to early ‘40s.

#FridayFrocks – Here is another piece featuring #Flounces, or maybe #Frills. This pretty summer day dress dates to c.1868. The flounces are printed with a lace pattern – a clever touch, which gives the illusion of more costly lace.

#FridayFrocks #Flounces. To brighten up your January - a beautiful silk damask sack back gown and matching petticoat. The petticoat features a deep flounce at the front. The flounce does not continue around the back of the petticoat, where it would not have been seen.

#FridayFrocks – For the next few posts we will be focusing on examples of #Flounces. We start with a lovely example of a cotton gown from c.1845 – 1850. Queen Victoria was known to have favoured this fashion for flounced skirts, which added width without excessive weight.

#FridayFrocks #SparkleAndShine: State gown once worn by HM Queen Mary. This was one of a number of similar gowns she owned, incorporating Indian brocades beautifully embellished with sumptuous beadwork and lace.

#FridayFrocks #SparkleAndShine: Evening jacket, silk velvet, 1930s, by Mariano #Fortuny. The decoration of tendrils and leaves is stencilled in a metallic gold pigment which had been formulated specially by the designer to resist flaking and breaking.

#FridayFrocks #SparkleAndShine – A silver lamé jacket, c.1925 – 30, trimmed with marabou feathers. Though seen in eveningwear, lamé also found its way into bridalwear, as seen in this 1920s silver lamé wedding dress.

#FridayFrocks – #SparkleAndShine. This is a typically romantic silk tulle gown of the late 1930s. Black and white Hollywood films added glamour and interest by using glittery, shiny fabrics. These made their way into actual wardrobes as people mimicked their silver screen idols.

#FridayFrocks #Underwear - #Corset, c.1885–95 by Y&N, made from cotton sateen with boning channels picked out in cream. In ads Y&N highlighted the comfort of their diagonal seam design. This approach was their response to a market that was beginning to understand the dangers of tight-lacing.

#FridayFrocks – Continuing with #Underwear, From the mid-1850s to the late 1860s, crinoline cages were widely adopted. This example is narrow in circumference, as it dates from the later 1860s when the fashionable silhouette changed.

#FridayFrocks – For the next few weeks we will be focusing on some important items from our #Underwear collection. This pair of half-boned stays, c.1785 – 1788 is made from brown cotton and lined with linen, they are boned with whalebone.

#FridayFrocks – This Sunday is the 240th wedding anniversary of Miss Jane Bailey and James Wickham Esq. They married in 1780. Our current fashion exhibition #MarriageALaMode includes Jane’s wedding outfit! Free and open until 5.09.2026.

#FridayFrocks – Since this year Friday Frocks falls on #Halloween, we thought we’d post one of our spookier garments. This black silk crêpe teagown dates to c.1895 – 1905 and would certainly have suited #MorticiaAddams!

#FridayFrocks - Evening gown by Jean Varon, c.1971 – 74, of #Green nylon chiffon, with rose-pink lining. Influential British designer John Bates (1935 - 2022), launched the Jean Varon label in 1960.

#FridayFrocks - coat, c.1939–48, by Keldore of #Green herringbone-woven wool. It has Bakelite buttons. Bright colours were a cost-effective way of adding interest to garments and boosting morale during and soon after World War 2.

#FridayFrocks – #Green printed cotton dress, c.1860. The colour comes from a man-made dye. The skirt would have been supported by a crinoline cage.

#FridayFrocks – Continuing our #Green theme with a Theatre Coat, c.1912, attributed to Paul #Poiret. Seen in our exhibition ‘Celebrating Stitchcraft’, which closes Saturday 1st November. This showcases the work of talented embroidery artist Darren Ball.

#FridayFrocks - Here we have a striking pink and #green shot silk taffeta evening gown by Jean-Louis Scherrer, c.1985. The enormous sleeves are constructed from stiff net and decorated with petals of pink and green silk organza.

#FridayFrocks – For the next few posts, we are going to concentrate on #Green items: green silk brocade shoes, c.1730. Pattens were often paired with shoes. They protected from dust and dirt.

#FridayFrocks - Our brand-new fashion exhibition, entitled ‘Marriage à la Mode’, is now open! See wedding dresses from the 1780s to 1980s, including this lovely gown, c.1843 – 48. Ends 5.09.26 #MarriageALaMode #WeddingDresses #Bridalwear