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Reminded me of the 1967 film “Elvira Madigan” where she pulls down a red velvet curtain to make a dress… On Thursday, September 29, 2022, 01: 31: 40 PM EDT, Sarah M. Hall via Vwoolf <vwoolf@ lists. osu. edu> wrote:
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<div>Reminded me of the 1967 film “Elvira Madigan” where she pulls down a red velvet curtain to make a dress…</div><div><br></div>
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On Thursday, September 29, 2022, 01:31:40 PM EDT, Sarah M. Hall via Vwoolf <vwoolf@lists.osu.edu> wrote:
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You beat me to it, Gill. Upholstery fabric comes in some very attractive designs and would presumably be much more hard-wearing than most clothing fabrics. I'm rather tempted . . . Sarah Sarah M. Hall Executive Council, Virginia Woolf Society
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<div dir="ltr">You beat me to it, Gill. <br clear="none"></div><div dir="ltr"><br clear="none"></div><div dir="ltr">Upholstery fabric comes in some very attractive designs and would presumably be much more hard-wearing than most clothing fabrics. I'm rather tempted . . .</div><div dir="ltr"><br clear="none"></div><div dir="ltr">Sarah</div><div dir="ltr"><br clear="none"></div><div dir="ltr"><div>Sarah M. Hall<br clear="none">Executive Council, Virginia Woolf Society of GB<br clear="none">Web: virginiawoolfsociety.org.uk<br clear="none">Facebook: @VWSGB<br clear="none">Twitter: @VirginiaWoolfGB<br clear="none">Instagram: @virginiawoolfsociety</div><div><br clear="none"></div></div><div dir="ltr"><br clear="none"></div><div><br clear="none"></div>
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On Thursday, 29 September 2022 at 16:39:36 BST, Gill via Vwoolf <vwoolf@lists.osu.edu> wrote:
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Reminded me of the recycled curtains in *The Sound of Music*. Sent from my iPhone On 29 Sep 2022, at 16: 33, Stuart N. Clarke via Vwoolf <vwoolf@ lists. osu. edu> wrote: ‘On an allowance of fifty pounds it was difficult, even for the skilful,
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</div><div><div>Reminded me of the recycled curtains in *The Sound of Music*. </div><div><br clear="none"></div><img alt="image0.jpeg" src="cid:hWkZYB8PV2E6ke3bJAEk" style="width:100%;max-width:566px;"><br clear="none"><br clear="none"><div dir="ltr">Sent from my iPhone</div><div dir="ltr"><div id="ydpb0d1e02ayiv7402235495ydpe28eabeyiv2354453002yqtfd17672" class="ydpb0d1e02ayiv7402235495ydpe28eabeyiv2354453002yqt4313816928"><br clear="none"><blockquote type="cite">On 29 Sep 2022, at 16:33, Stuart N. Clarke via Vwoolf <vwoolf@lists.osu.edu> wrote:<br clear="none"><br clear="none"></blockquote></div></div><div id="ydpb0d1e02ayiv7402235495ydpe28eabeyiv2354453002yqtfd76510" class="ydpb0d1e02ayiv7402235495ydpe28eabeyiv2354453002yqt4313816928"><blockquote type="cite"><div dir="ltr">
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‘On an allowance of fifty pounds it was difficult, even for the skilful, and I had no skill, to be well dressed of an evening. A home dress, made by Jane Bride, could be had for a pound or two; but a party dress, made by Mrs Young, cost fifteen
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<div>‘On an allowance of fifty pounds it was difficult, even for the skilful,
and I had no skill, to be well dressed of an evening. A home dress, made by Jane
Bride, could be had for a pound or two; but a party dress, made by Mrs Young,
cost fifteen guineas. The home dress therefore might be, as on one night that
comes back to mind, made cheaply but eccentrically, of a green fabric, bought at
Story’s, the furniture shop. It was not velvet; nor plush; something betwixt and
between; and for chairs, presumably, not dresses. Down I came one winter’s
evening about 1900 in my green dress; apprehensive, yet, for a new dress excites
even the unskilled, elated. All the lights were turned up in the drawing room;
and by the blazing fire George sat, in dinner jacket and black tie, cuddling the
dachshund, Schuster, on his knee. He at once fixed on me that extraordinarily
observant scrutiny with which he always inspected our clothes. He looked me up
and down for a moment as if I were a horse brought into the show ring. Then the
sullen look came into his eyes; the look which expressed not simply aesthetic
disapproval; but something that went deeper. It was the look of moral, of
social, disapproval, as if he scented some kind of insurrection, of defiance of
his accepted standards. I knew myself condemned from more points of view than I
could then analyse. As I stood there I was conscious of fear; of shame; of
something like anguish—a feeling, like so many, out of all proportion to its
surface cause. He said at last: “Go and tear it up.” He spoke in a curiously
tart, rasping, peevish voice; the voice of the enraged male; the voice which
expressed his serious displeasure at this infringement of a code that meant more
to him than he could admit.’</div>
<div>(“Moments of Being”, 2nd edn, Hogarth Press, 1985, pp. 150-1)</div>
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<div>‘The pianist seated herself at the piano. The cellist adjusted his
stool. Silence fell on the audience.</div>
<div>“She’s wearing brocade, my dear.” </div>
<div>Sister Monica Joan’s articulation was faultless, and ... the acoustics at
All Saints are superb. Her stage whisper, which at its best could penetrate a
railway station at rush hour, reached every corner of the church.</div>
<div>“We used to do that in the 1890s; cut down some old curtains, and make a
second best dress out of them. I wonder whose curtains she got hold of?”</div>
<div>The pianist glared ...’</div>
<div>(Jennifer Worth, “Call the Midwife: A True Story of the East End in the
1950s” (London: Phoenix, 2008), p. 308)</div>
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