1257:(1901–1910) introduced a new style in women's underclothing. The underclothing was very different from the one that was worn in the 19th century. At the beginning of the 20th century, people became aware of the sex attraction underclothing is capable to display. Also en vogue was the so-called "Ulster". "Ulster" was the name that was used for certain top coats. Three-quarter and full-length capes with wide revers were very common at this time. In 1907, women wore coats that looked like men's morning coats and in 1908 ground-length coats came into fashion. In 1909, the so-called full-length or half-length "Russian" coat became popular. The "Russian" coat was characterized by a belt and an embroidered border. Coats with horizontal decoration bands or with big buttons became fashionable, too.
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in fashion was on youth. This was an effect of the war since the death of many young men resulted in a glorification of the male youth. It became typical for girls to flatten their breasts and to hide their waist since this was the ideal of a girl in this time. The beginning recovery of economy might be the factor that brought a change in fashion again in 1925. Women's clothes, especially evening wear, were cut in a more feminine line but important to mention the ideal of the youthfulness was still alive. The first skirts with a flare and flounces were introduced. As the skirts had been very short up to that point, from 1928 on they became longer. Also important to mention is the emergence of the zip fastener. First used in the
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dresses was the front fastening bodice. The bodice was used for shaping the body from the shoulder to the hips. In the 1880s, the so-called "princess line" was very fashionable. The princess line is defined by a bodice and a skirt which doesn't have a waist seam. The sleeves changed from wider to close fitting again. Special for the evening dresses were the short puffed sleeves. Also typical for this time were dresses made of two textiles and two colours. Usually, colours such as white, blue, lilac, grey, pink and pale brown were used but in the 1880s the colours became stronger.
304:"It is 31 December 1952 and the family have been invited to the annual Hogmanay Ball by the Dumfries Chamber of Commerce at the Assembly Rooms. Father, mother and daughter are just gathering their bags, gloves and coats. On display are lovely examples of 1950s evening dresses including the daughter's dress, c1950, which is made of black machine made cotton lace over black taffeta with festoon and raised flower decorations made of sequins and beads and pink nylon "horsehair" rosettes with pearlised edges, made by the Cruikshank Salon, Greensmith Downes, Princes Street. Edinburgh.
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1292:, the woman's wardrobe was reduced to a minimum. In 1942, "utility" clothes were introduced. The utility clothes included suits, dresses and top coats. The standard patterns for these clothes were produced by a committee of designers. The prices for these clothes were controlled. Something special about it was the label that looked like a double crescent, which all clothes carried. The "utility" clothes should create a uniform style for all civilians, even though the manufactures achieved differences in the clothes.
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510:"The home, in Victorian times, was regarded as a haven from the busy world of commerce and politics outside. It was the domain of women who were expected to create cosy, comfortable surroundings. Women strove to be respectable, capable and accomplished home-makers who had to manage servants, budgets and plan menus for the household. Pastimes of this period reflected this ideal of domesticity in sewing and embroidery as well as painting, drawing, reading and playing music.
549:"No outfit is ever complete without the right accessories. The plainest of dresses can look the height of glamour with the right bag & shoes. Fans & parasols are not so common now but were once an essential part of attire for the well dressed woman. The decoration lavished on these small articles is often quite stunning; their very size meant that expensive and even exotic materials were used to provide that unique look.
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375:"In this room visitors see an older woman and her granddaughter are getting dressed for a local ball to celebrate the end of British military action in the Far East. The Second World War is usually taken to have ended on the 8th of May 1945 when fighting ceased in Europe. However many British families and communities had to wait until the autumn to celebrate the homecoming of loved ones
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portraits in costumes from classical or romantic costume and a number of wonderful costumes are on display including an '18th century
Venetian woman' outfit probably from the 1930s, a Pierrot costume made from curtaining material, and worn by Sydney E Taylor, who won First Prize in it at a ball on board ship for Brazil about 1920-5 and part of an 1890s 'Knave of Hearts' costume."
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320:"The hall of any house is intended to say something important about its owner. For someone visiting the house for the first time it would convey the owner's status, wealth and taste. They would be asked to wait in the hall for some time giving them a chance to survey the paintings, furniture and other trophies. Hopefully they would be suitably impressed!
275:"Members of the household and a visitor are gathering excitedly to listen to the latest news about the Second World War on the wireless. The room is furnished with 19th century sofa and chairs, a tea service is English porcelain about 1900, a display of nineteenth century ceramics, a gramophone dating from the 1920s and a portrait of Queen Victoria.
218:. The museum started operating in 1982. The museum allowed a look at fashion and the lifestyle of the wealthy from the 1850s to the 1950s. The clothes were presented in lifelike room settings. In January 2013, National Museums Scotland announced that the National Museum of Costume was to close and the site would not reopen for 2013.
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A purple silk dress highlights the fact that new technologies were being developed in the
Victorian era. In the 1850s aniline dyes, the first synthetic dyes were invented and one of the first to be developed was aniline purple. This dress would have been worn by the most fashionable woman in the room
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Several prints hang on the walls, all connected to the
Stewart family. A portrait of Captain William Stewart (1879 -1930) hangs over the fireplace, commissioned from David Alison in about 1913. On either side of the fireplace hang portraits of William Craik of Arbigland (artist unknown) and his wife,
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Furthermore, royal occasions had influence on fashion in the 1930s, e.g. the marriage of the Duke of Kent to
Princess Marina of Greece in 1934, the Silver Jubilee of King George V in 1935 and the Coronation of King George VI and Queen Elizabeth in 1937. The wardrobes of women with fashion awareness
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After the war there was a backsliding in fashion to 1913. Skirts were longer and the hobble skirt was en vogue again; but also tight tube-like dresses were worn in these days. This led to a reduction of the mass of underclothing and put more emphasis on the body itself. From 1920 to 1930, the focus
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and were covered with layers of flounced petticoats. The dresses were made of several materials such as brocade, taffeta, silk and velvet. There was a difference between dresses for the day and dresses for the evening. Dark coloured fabrics were usually used for day dresses. In complete contrast to
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symbol, indicating that they conformed to the regulated fabric amounts. This extended to all household textiles including tea towels as well as to furniture and other household items. The scheme continued until 1949. The hostess wears a printed rayon dress that bears the
Utility label. 'Make Do and
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The changes in fashion which had begun at the very beginning of the 20th century were suppressed by new styles that arose during World War I. Between 1913 and 1916, the brassiere was introduced and the emphasis in evening dresses was put on the bosom. However, from 1915 on, skirts became wider and
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by
Alexander Burgess, about 1890, a marble clock and matching vases, part of the original 19th century furnishings of the room, and an oak inlaid plinth, one of a pair designed by William Burges for Ruthin Castle, Wales, and is dated 1853. Also in the Dining Room is a portrait of Bethia Donaldson,
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In 1949, the next remarkable change in costume started. The skirts length was reduced from very long to thirteen inches from the ground. The shape was a middle course between wide and slim. As a lot of women had to wear trousers during the war, they began to wear trousers by choice at this point.
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In the next door rooms are displayed some of the pieces from
Charles Stewart's collection which do not fit into the themes or time-scale of the period rooms. At present the theme is fancy dress. Fancy dress was extremely popular for parties and balls in Victorian times. People sometimes posed for
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In the late 1860s, the crinolines disappeared and the bustles came into fashion in the 1870s. This led to a change in the dresses' shapes. The bustle, retained at the back, was worn under petticoats. Because of this bustle the gowns often had elaborate folds at the back. Typical for this type of
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The little boy wears a traditional white summer sailor suit. The young Prince Edward first started the trend for sailor suits when he posed for a portrait by the painter
Winterhalter in 1846 dressed in an exact replica made by the official naval outfitters. It remained a popular outfit for boys
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The grandmother is wearing a black satin evening dress with a pattern of flowers and leaves in green and cream. It is in a typical 1940s style with broad shoulders and a sweet-heart neckline. New long dresses were not available to buy during the war, so it may have been adapted from an existing
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came the change to a feminine ideal of womanliness again. The waist line was put higher and the skirts became longer. In addition, the cut of women's clothes was more complex, which made a more elegant silhouette. In contrast to the day costume, the evening costume exudes much more sex appeal.
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Shambellie House is a
Victorian country house and was designed by the Scottish architect David Bryce in 1856 for the Stewart family. Charles William Stewart's father had inherited Shambellie House before World War II. In 1976, Charles W. Stewart gave the costume collection he had built up over
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The end of war brought a tenor among women for anti-uniforms, longer skirts and curves. After the traditional materials reappeared, the new synthetics and plastics came up in 1946. Christian Dior created the "New Look" in France at this time. This look did not find real acceptance in
Britain.
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shorter and the cut of jackets and coats was influenced by the army officer's tunic. In 1918, waists and the bosom did not play a big role anymore. The middle of the body became more important. This resulted in the attempt to introduce a "National Standard Dress", which ended unsuccessfully.
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From one of the windows the ruins of Sweetheart Abbey can just be seen and on a clear day, in the far distance, the hills of Cumbria. Criffel, the mountain that dominates the skyline for miles around, can be seen from the other window. All around are the woods and forestry plantations of the
451:"This former bedroom has the best views in the house and has been deliberately left so that visitors can circulate freely and appreciate why this site was chosen for the house. On the walls some information is given about the village of New Abbey and the building of Shambellie.
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At the beginning of the century, the bulky skirts were replaced by the sheath line silhouette. The first hobble skirts showed up. They were close-fitting and often seemed to shackle below the knee. The hobble skirt period lasted for about 5 years. It ended in 1914 when the
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dress, or made from material bought before 1939. Everyone in Britain had the same restricted access to new clothing during the war. However, the wealthier sections of society began the war with bigger wardrobes and therefore it was easier for them to 'keep up appearances'.
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A grey, silk dress on show was originally worn in 1873 by a Scottish bride, reflecting the popular practice of the time to wear coloured, formal day clothes for a wedding. White wedding dresses appeared from the mid-eighteenth century and became commonly worn from around
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Winter curtains and other furnishings were often changed for summer ones in the spring and vice-versa. The un-used sets being cleaned and store in cupboards such as these. Lavender and other perfumed sachets were employed to give the linens a sweet smell and to keep away
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In this scene the mother is off to an afternoon function and wears a high-waisted day dress, circa1910, made of maroon wool with a woven strip with a deep band of net edged with maroon velvet forms a low decorative collar; this is heavily embroidered with silk and metal
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This period saw many changes in the fashionable body shape or silhouette that are clearly shown by the outfits displayed. All four dresses are examples of the bustle style, which was a way of exaggerating the size and shape of the bottom through the use of specialised
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This room features four figures in clothes that date from the 1873 to early 1880s period. It was typical of the time that some people wore more up-to-date styles than others; whether people wore the very latest fashions depended on their tastes, income and also their
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A child's dress on display is a perfect example of this as it has been altered from an adult's and dates to 1943. The family are welcoming guests to afternoon tea - wartime food rationing would make the home-made scones, jam and cake on offer a very special
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247:"See the family members gathering for a summer evening party. The gentleman and lady of the house in evening wear ready to welcome further guests. A cold collation is already laid out, whilst the butler is arranging glasses on the side table.
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In the hall of Shambellie House stands a grandfather clock by D Duff, Paisley, mid 19th century and a long bench, one of several used until recently in the library of the National Museum of Antiquities of Scotland, Queen Street,
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Samplers are also displayed around the walls - these are typically Scottish and reflect the themes young girls would have been encouraged to use as suitable subjects whilst learning the different techniques of embroidery and
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also emerged in 1946. In the post-war years, nylon was available for people from ex-R.A.F. parachutes. People began to make blouses, lingerie, children's wear, curtains and several other things out of these parachutes.
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The lady has braved the elements allowing a glimpse of her beautifully embroidered cotton nightgown of about 1905. She has rolled her hair in strips of cotton the night before. This was a popular way to ensure curled
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Laundry was usually done once a week with one or two people from the village being brought in especially for the extremely heavy work of boiling, washing, drying and ironing. Fine and delicate items would be laundered
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is hung on a towel rail in front of the bath. These shawls were highly fashionable for women's daywear until around 1870. By 1905 a beautiful Paisley shawl might still have been used to visit a chilly country house
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Here you can see beetle wing cases, tortoiseshell, ivory, pearls, feathers from exotic birds, and even in one case a whole humming-bird! (Attitudes have changed quite a lot to the use of animals in adornment)."
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There are photographs of William Stewart of Shambellie, the builder of the house, and his wife, Katherine Hardie and portrait of his father, also William Stewart (1750-1844) painted in about 1790 by an unknown
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Flounced dresses went out of fashion soon and women began to wear skirts over the crinoline frames. But not only the fabric changed, the colour did, too. There were used warmer tones like brown and dark red.
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In the fireplace stands an embroidered fire screen with Daniel in the Lions Den, dating from about 1850-60. On the mantelpiece two hand screens can be seen that were used to shield the face from the fire."
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Alongside these are paintings of Dorothea and Euphemia Stewart, the 14th and 15th children of William Stewart (1750 -1844) and his first wife, Anne Murray, painted in about 1803 by John Allen of Dumfries."
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Country houses can be notoriously cold, even in September, therefore the grandmother has the luxury of an electric hot water bottle to ensure a good night's sleep. A 1930's electric fire stands in the
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Highlights include a beautiful selection of evening dresses and also a mourning dress, of black satin, trimmed with jet. The mourning process in Edwardian and Victorian society followed a strict code.
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this, the evening dresses were usually white. Very fashionable were also flounced dresses with flower prints, stripes and bands. The sleeves were worn wider; they were no longer fitted to the wrist.
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Her granddaughter is wearing a red velvet dress of 1943, which has been made from adult's clothing. This is another good example of how even wealthy people had to 'Make do and Mend' during the war.
415:"Here we see the nanny is caring for the latest addition to the family. Toys, clothes and baby paraphernalia are strewn around the room. Centre stage is a beautifully carved wooden rocking horse.
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Strict regimes were often laid down about household linen; items were often marked as to what belonged to each room and exact timetables were adhered to for changing beds and towels.
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The way people dress changed over the years. Today's fashion is completely different from the fashion that was worn from the mid-19th to the mid-20th century.
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Each of the rooms presents clothes in different periods and for different events. The portrait paintings one can see around the house show the Stewart family.
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A set of brushes and bottles on the dressing table were a wedding present to Mrs Kathleen Bibby in 1932. The hairdryer is typical of those used in the 1930s.
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hats and blouses with red applications or yellow skirts. Khaki, red and yellow are colours that can be found in traditional clothing of African peoples.
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as its shape and ruched, or gathered, detailing is typical of styles that can be seen in fashion plates and journals of the early 1880s.
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throughout the second part of the 19th and early 20th century. Wide brimmed straw hats trimmed with a ribbon complemented these.
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The 1850s are well known for the crinolines, which reached greatest popularity around 1860. The crinolines were made of
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As a consequence of the economic recession, National Museums Scotland announced the site was to close in January 2013.
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also played a role in fashion. It influenced the design and colouring of women's dress. Examples for the influence are
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several years to the Royal Scottish Museum and handed over Shambellie House to the Department of the Environment.
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Probably the most important factors that influenced fashion worn in the first half of the 20th century were the
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Mend' was one of the many war time slogans designed to encourage the public to recycle old out-of-date clothes.
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the second wife of William Stewart (1750-1844) and mother of the William Stewart who built Shambellie."
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Along the bedroom corridors are hung various engravings including fashion plates and portraits."
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The linen is from the Museum collections and the other items are lent by the Stewart family."
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The bidet is late 18th century and was bequeathed to the Museum by Lady Clementina Waring.
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Elizabeth Stewart of Shambellie, by William de Nune, painted in the 1740s"
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A scene of an early evening in August 1913 is presented in the playroom.
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In the library, one can observe a scene which plays on 31 December 1952.
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One can watch an early morning scene in November 1905 in the bathroom.
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A high chair, perambulator and wheeled baby chair are also on display.
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A late summer afternoon in 1882 is presented in the sitting room.
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Handbook of English Costume in the Twentieth century, 1900-1950
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Watkins Woolen Mill State Park and State Historic Site
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Fashion Institute of Design & Merchandising Museum
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contained Marina hats, Jubilee blue and Royal purple.
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A scene in May 1945 is presented in the drawing room.
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2744:Ixchel Museum of Indigenous Textiles and Clothing
2554:Augusta Canal Discovery Center at Enterprise Mill
371:A day in September 1945 is shown in the bedroom.
243:The dining room presents a scene in summer 1895.
3055:Historic house museums in Dumfries and Galloway
2835:Musée des Tissus et des Arts décoratifs de Lyon
1145:Portugal National Museum of Costume and Fashion
2516:
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1171:
8:
2406:Summerlee Museum of Scottish Industrial Life
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2830:Museum of Ayrshire Country Life and Costume
2296:George Waterston Memorial Centre and Museum
2011:Museum of Ayrshire Country Life and Costume
1581:Digital Collections, University Libraries,
1303:Together with the synthetics and plastics,
1135:Museum of Ayrshire Country Life and Costume
402:The rug is from Sanandaj, Iran about 1870."
257:Furniture and paintings include a rosewood
2850:Museum of the History of the Greek Costume
2840:Museum of Domestic Design and Architecture
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1140:Museum of the History of the Greek Costume
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2973:National Handicrafts and Handlooms Museum
2344:St Mungo Museum of Religious Life and Art
66:Learn how and when to remove this message
2669:San Jose Museum of Quilts & Textiles
2391:Prestongrange Industrial Heritage Museum
2238:Fort George & The Highlanders Museum
29:This article includes a list of general
2790:Devonshire Collection of Period Costume
2684:Southeastern Quilt & Textile Museum
1699:Scottish National Gallery of Modern Art
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1125:Devonshire Collection of Period Costume
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2870:National Museum of Costume and Fashion
2401:Scotland’s Jute Museum @ Verdant Works
2376:Museum of the University of St Andrews
2021:Museum of the University of St Andrews
3050:Fashion museums in the United Kingdom
2951:Chojun Textile & Quilt Art Museum
2845:Museum of Jewellery in the Silver Way
2589:Embroidery Museum and Resource Center
2233:Dumfries and Galloway Aviation Museum
1837:Stirling Smith Art Gallery and Museum
1506:"National Museum of Costume to close"
1359:"National Museum of Costume to close"
1334:"National Museum of Costume to close"
7:
2253:Montrose Air Station Heritage Centre
770:Faubourg Marigny Mardi Gras costumes
2780:Centre National du Costume de Scene
2614:Kansas City Garment District Museum
2549:Antique Gas and Steam Engine Museum
1534:. London: Faber and Faber Limited,
1150:Scotland National Museum of Costume
1110:Centre National du Costume de Scene
2719:Windham Textile and History Museum
2704:Western Reserve Historical Society
1787:Kelvingrove Art Gallery and Museum
1704:Scottish National Portrait Gallery
1661:National Museums Collection Centre
773:French Quarter Mardi Gras costumes
611:Use of costume in Athenian tragedy
92:Shambellie House Museum of Costume
35:it lacks sufficient corresponding
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2689:Textile Museum (Washington, D.C.)
2664:Ruth Funk Center for Textile Arts
2604:Hat and Fragrance Textile Gallery
2031:North Lanarkshire Heritage Centre
1926:Andrew Carnegie Birthplace Museum
1559:National Museums Scotland website
1073:Costume Designers Guild (fantasy)
3045:Museums in Dumfries and Galloway
2983:Queen Sirikit Museum of Textiles
2775:Central Museum of Textiles, Łódź
2765:Blackburn Museum and Art Gallery
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1782:Inverness Museum and Art Gallery
1777:Hunterian Museum and Art Gallery
1504:Press office (4 February 2013).
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2619:Lowell National Historical Park
2544:American Textile History Museum
2339:Scottish Jewish Heritage Centre
1689:Royal Scottish Academy Building
2855:Museum of the Romanian Peasant
2815:Helmshore Mills Textile Museum
2795:Ethnographic Museum (Belgrade)
2594:The Fabric Workshop and Museum
2286:D'Arcy Thompson Zoology Museum
2248:John Paul Jones Cottage Museum
2175:Museum of Scottish Lighthouses
1817:Meigle Sculptured Stone Museum
1548:. New York: Theatre Arts Books
1130:Korea Museum of Modern Costume
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2396:Robert Smail's Printing Works
2071:Scotland Street School Museum
1714:Art galleries and collections
1656:National Museum of Rural Life
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2880:Nottingham Industrial Museum
2195:Skerryvore Lighthouse Museum
1981:Highland Museum of Childhood
1921:Aberdeenshire Farming Museum
1546:A History of English Costume
1068:Costume Designers Guild (TV)
2895:Queen Street Textile Museum
2659:Rocky Mountain Quilt Museum
2569:Brigham City Museum-Gallery
2472:Scottish Vintage Bus Museum
2457:Museum of Scottish Railways
2170:Mull of Galloway Lighthouse
1941:Campbeltown Heritage Centre
1676:National Galleries Scotland
1646:National Museum of Scotland
3071:
2905:Victoria and Albert Museum
2865:National Museum of Costume
2800:Fashion and Textile Museum
2714:Willamette Heritage Center
2649:Museum of Work and Culture
2629:Metropolitan Museum of Art
2609:International Quilt Museum
2447:Dundee Museum of Transport
2218:Bannockburn Visitor Centre
2111:Tain & District Museum
2086:Skye Museum of Island Life
1269:, it was found in 1925 in
1242:As already mentioned, the
1092:Category:Costume designers
210:and it formed part of the
192:National Museum of Costume
81:National Museum of Costume
3040:National Museums Scotland
2941:Calico Museum of Textiles
2825:Kunstgewerbemuseum Berlin
2785:Costume Museum (Kastoria)
2725:
2674:Slater Mill Historic Site
2480:
2452:Grampian Transport Museum
2424:R&A World Golf Museum
2243:Gordon Highlanders Museum
2180:Scottish Fisheries Museum
1694:Scottish National Gallery
1651:National Museum of Flight
1638:National Museums Scotland
1510:National Museums Scotland
1363:National Museums Scotland
1338:National Museums Scotland
97:
85:
2993:Textile Museum (Jakarta)
2988:Sanskriti Textile Museum
2926:Azerbaijan Carpet Museum
2875:Nordwolle Factory Museum
2694:Textile Museum of Canada
2579:Costume Museum of Canada
2429:Scottish Football Museum
2185:Scottish Maritime Museum
2139:Aberdeen Maritime Museum
1883:David Livingstone Centre
1747:Dundee Contemporary Arts
1583:University of Washington
1493:National Museum Scotland
1482:National Museum Scotland
1471:National Museum Scotland
1460:National Museum Scotland
1449:National Museum Scotland
1438:National Museum Scotland
1427:National Museum Scotland
1416:National Museum Scotland
1405:National Museum Scotland
1394:National Museum Scotland
1383:National Museum Scotland
1115:Costume Museum of Canada
2978:National Textile Museum
1120:Kastoria Costume Museum
973:Costume Designers Guild
50:more precise citations.
2956:Kurdish Textile Museum
2770:Bocholt textile museum
2263:Orkney Wireless Museum
2228:The Cameronians Museum
2121:The Tolbooth, Aberdeen
1878:Broughty Castle Museum
1767:Gracefield Arts Centre
817:Dead-character costume
666:World Costume Festival
2946:Carpet Museum of Iran
2931:Bhutan Textile Museum
2900:Textilfabrik Cromford
2654:National Quilt Museum
2061:Provost Skene's House
2051:People's Story Museum
1757:Gallery of Modern Art
1526:Alan Mansfield &
872:Plague doctor costume
204:Dumfries and Galloway
140:Dumfries and Galloway
2998:Yokohama Silk Museum
2885:Prato textile museum
2810:Galleria del Costume
2805:Fashion Museum, Bath
2760:Bielsko-Biała Museum
2462:Myreton Motor Museum
1976:Highland Folk Museum
1722:Aberdeen Art Gallery
1544:Iris Brooke (1972).
1013:Africa Movie Academy
709:Elements and methods
606:Costume coordination
173:54.98324°N 3.62583°W
2634:Mission Mill Museum
2624:Marie Webster House
2559:Belknap Mill Museum
2491:Scotland portal
2381:Museum on the Mound
2190:Signal Tower Museum
2116:Tangwick Haa Museum
2101:Stonehaven Tolbooth
2081:Signal Tower Museum
2016:Museum of Edinburgh
1971:Glenesk Folk Museum
1936:Biggar Museum Trust
1888:Museum of Childhood
1847:Talbot Rice Gallery
1792:Kirkcaldy Galleries
1752:Fruitmarket Gallery
1666:National War Museum
1053:National Film Award
629:Society and culture
616:Wardrobe supervisor
566:Part of a series on
169: /
82:
2223:Black Watch Museum
1893:Provand's Lordship
1807:McLellan Galleries
1772:Groam House Museum
1732:Burrell Collection
1571:. 23 October 2001.
1528:Phillis Cunnington
1033:David di Donatello
802:Costumed performer
741:Inflatable costume
559:Changes in costume
457:Shambellie estate.
178:54.98324; -3.62583
3027:
3026:
2936:Bsous Silk Museum
2709:Wile Carding Mill
2639:The Museum at FIT
2498:
2497:
2371:Mills Observatory
2306:McManus Galleries
2268:Scapa Flow Museum
2091:St Andrews Museum
2056:Pier House Museum
2041:The Orkney Museum
1931:Angus Folk Museum
1827:Perth Art Gallery
1812:McManus Galleries
1727:Broughton Gallery
1565:"Charles Stewart"
1244:South African War
1188:
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777:Halloween costume
188:
187:
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2961:Lok Virsa Museum
2890:Quarry Bank Mill
2731:
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2518:
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2489:
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2487:
2467:Riverside Museum
2301:Marischal Museum
2210:Military and war
2106:Stromness Museum
2096:Stewartry Museum
2066:Scalloway Museum
2001:Meffan Institute
1966:Gladstone's Land
1956:Fife Folk Museum
1946:Clydebank Museum
1832:Pier Arts Centre
1797:Meffan Institute
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1194:From 1850 - 1900
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998:Laurence Olivier
736:Illusion costume
691:Costume designer
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2144:Böd of Gremista
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2076:Shetland Museum
2046:People's Palace
2006:Montrose Museum
1991:John Knox House
1961:Gairloch Museum
1951:Dumfries Museum
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1822:Montrose Museum
1737:City Art Centre
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1366:. Retrieved
1362:
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1341:. Retrieved
1337:
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1312:Site closure
1302:
1298:
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1290:World War II
1287:
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1229:World War II
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1043:Golden Arena
931:utility belt
905:Zoobilee Zoo
903:
896:
877:Modern dress
827:Gorilla suit
553:
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502:Sitting room
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267:Drawing room
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222:Construction
195:
191:
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77:
62:
53:
34:
2564:Boott Mills
1873:Alloa Tower
1225:World War I
847:Stage dress
822:Domino mask
764:Traditional
746:Rubber mask
436:needlework.
351:separately.
239:Dining room
176: /
151:Coordinates
102:Established
48:introducing
3034:Categories
2910:Wigan Pier
2644:Museum L-A
2386:New Lanark
2366:Barry Mill
2026:New Lanark
1684:Modern Two
1368:30 October
1343:30 October
1320:References
1063:Satellite
795:Theatrical
782:Santa suit
696:Spirit gum
589:Background
522:underwear.
326:Edinburgh.
161:54°59′00″N
31:references
2964:Islamabad
2820:Killerton
2439:Transport
2164:Britannia
1276:With the
1267:U.S. Navy
1237:Great War
1200:whalebone
938:Ghostface
919:Fictional
481:bathroom.
259:sideboard
200:New Abbey
164:3°37′33″W
136:New Abbey
117:Dissolved
2968:Pakistan
2358:industry
2316:Religion
2258:Morayvia
2131:Maritime
1630:Scotland
1530:(1973).
1221:Boer War
1038:Filmfare
948:Monokuma
890:Children
832:Kumadori
721:Disguise
601:Industry
468:Bathroom
407:Playroom
332:artist."
216:Scotland
208:Scotland
144:Scotland
132:Location
2354:Science
2156:Unicorn
1866:History
1852:Tramway
1622:Museums
1288:During
1273:, too.
1271:Britain
1239:began.
1104:Museums
926:Batsuit
837:Leotard
731:Fatsuit
641:Cosplay
636:Fursuit
596:History
572:Costume
419:thread.
397:hearth.
367:Bedroom
296:Library
291:treat."
122: (
107: (
44:improve
2753:Europe
2334:Scalan
1538:
1086:People
1058:Robert
991:Awards
865:Period
751:Zentai
679:Design
661:Parade
651:Masque
357:moths.
33:, but
2416:Sport
1305:nylon
1248:khaki
1028:César
1018:BAFTA
1003:AACTA
534:1800.
487:hair.
231:Rooms
198:, in
2919:Asia
2356:and
2162:HMY
2154:HMS
1624:and
1536:ISBN
1370:2022
1345:2022
1253:The
1048:IIFA
516:age.
315:Hall
282:CC41
190:The
124:2013
120:2013
109:1982
105:1982
1628:of
476:"A
214:of
3036::
2966:,
1579:.
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1508:.
1361:.
1336:.
206:,
202:,
142:,
138:,
2524:e
2517:t
2510:v
1614:e
1607:t
1600:v
1586:.
1512:.
1372:.
1347:.
1179:e
1172:t
1165:v
126:)
111:)
69:)
63:(
58:)
54:(
40:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
