Horrockses Fashions

This is an example of the ‘wiggle’ dress silhouette that was popular during the 1950s. The cotton is printed with cascading white roses against a dark navy blue background.

In flowers, particularly the white rose, the colour has long symbolised purity, innocence and new beginnings. Often associated with weddings, it can also express remembrance and enduring love. Textile designers at Horrockses Fashions used white flowers to highlight these ideas of beauty. Crisp white flowers, sometimes surrounded by luscious green foliage envelop the body in blooms and create an ethereal vision of femininity.

This is an example of the ‘wiggle’ dress silhouette that was popular during the 1950s. The cotton is printed with cascading white roses against a dark navy blue background.

In flowers, particularly the white rose, the colour has long symbolised purity, innocence and new beginnings. Often associated with weddings, it can also express remembrance and enduring love. Textile designers at Horrockses Fashions used white flowers to highlight these ideas of beauty. Crisp white flowers, sometimes surrounded by luscious green foliage envelop the body in blooms and create an ethereal vision of femininity.

This is an example of the ‘wiggle’ dress silhouette that was popular during the 1950s. The cotton is printed with cascading white roses against a dark navy blue background.

In flowers, particularly the white rose, the colour has long symbolised purity, innocence and new beginnings. Often associated with weddings, it can also express remembrance and enduring love. Textile designers at Horrockses Fashions used white flowers to highlight these ideas of beauty. Crisp white flowers, sometimes surrounded by luscious green foliage envelop the body in blooms and create an ethereal vision of femininity.

This cotton ‘wiggle’ dress and matching bolero was designed for Horrockses Fashions 1954 Spring/Summer collection. It was purchased for the collection in 2025 by The Harris’ decorative art curator Scott Schiavone. Nine original design books from 1953 and 1954, originating from the office of the company’s head designer John Tullis, also part of the collection at The Harris. One of the books contains the original sketch, fabric swatch and publicity photo for this particular design. These books are invaluable tools as the combination of sketches, textiles and photography allows garments within the museum’s collection to be dated with precision.

This cotton ‘wiggle’ dress and matching bolero was designed for Horrockses Fashions 1954 Spring/Summer collection. It was purchased for the collection in 2025 by The Harris’ decorative art curator Scott Schiavone. Nine original design books from 1953 and 1954, originating from the office of the company’s head designer John Tullis, also part of the collection at The Harris. One of the books contains the original sketch, fabric swatch and publicity photo for this particular design. These books are invaluable tools as the combination of sketches, textiles and photography allows garments within the museum’s collection to be dated with precision.

This cotton ‘wiggle’ dress and matching bolero was designed for Horrockses Fashions 1954 Spring/Summer collection. It was purchased for the collection in 2025 by The Harris’ decorative art curator Scott Schiavone. Nine original design books from 1953 and 1954, originating from the office of the company’s head designer John Tullis, also part of the collection at The Harris. One of the books contains the original sketch, fabric swatch and publicity photo for this particular design. These books are invaluable tools as the combination of sketches, textiles and photography allows garments within the museum’s collection to be dated with precision.

The ‘going-away’ outfit is a traditional ensemble a bride changes into at the end of her reception before departing for the honeymoon, signifying the transition from bride to wife. Once standard etiquette, this stylish ensemble replaced the wedding gown for a comfortable, practical exit. Traditionally, it was a chic suit, cocktail dress or tailored ensemble.

This ensemble was worn by Helen Wells (née Maxey Haile) as a going away outfit following her marriage to Derek Wells on 10th July 1954 at the Castle-square Congregational Church, Wisbech. It was bought from Harvey Nichols department store in London where Helen worked as a ballroom dancing instructor. The couple spent their honeymoon in Cornwall.

The ‘going-away’ outfit is a traditional ensemble a bride changes into at the end of her reception before departing for the honeymoon, signifying the transition from bride to wife. Once standard etiquette, this stylish ensemble replaced the wedding gown for a comfortable, practical exit. Traditionally, it was a chic suit, cocktail dress or tailored ensemble.

This ensemble was worn by Helen Wells (née Maxey Haile) as a going away outfit following her marriage to Derek Wells on 10th July 1954 at the Castle-square Congregational Church, Wisbech. It was bought from Harvey Nichols department store in London where Helen worked as a ballroom dancing instructor. The couple spent their honeymoon in Cornwall.

The ‘going-away’ outfit is a traditional ensemble a bride changes into at the end of her reception before departing for the honeymoon, signifying the transition from bride to wife. Once standard etiquette, this stylish ensemble replaced the wedding gown for a comfortable, practical exit. Traditionally, it was a chic suit, cocktail dress or tailored ensemble.

This ensemble was worn by Helen Wells (née Maxey Haile) as a going away outfit following her marriage to Derek Wells on 10th July 1954 at the Castle-square Congregational Church, Wisbech. It was bought from Harvey Nichols department store in London where Helen worked as a ballroom dancing instructor. The couple spent their honeymoon in Cornwall.