When Worlds Collide

For the first six months of 2024, I was busy and taken up with two projects. The first was the centenary celebration of the disappearance of George Mallory and Sandy Irvine on Mount Everest on 8 June 1924. The second was the completion of my biography of British Vogue which was in the final stages of proofs, and we were looking to pin down the pictures. It was a delightful juxtaposition. I enjoyed flitting between exquisite photoshoots by Nick Knight and Mario Testino in Vogue and the chilly black, white and blue world of the high Himalaya. While the book proofs were being tweaked and the index completed, I took part in several events to mark the Everest 100th anniversary. The first was at Shrewsbury School in February, the day the expedition set off from Liverpool on 29 February 1924. Then a seminar day on 26 April at Merton College, Oxford (Sandy Irvine’s college) on the day he got his first sighting of the mountain from Pang La Pass 100 years ago.

Sandy Irvine 1923 The Warden & Fellows of Merton College, Oxford

And finally the major celebration at the Royal Geographical Society in London, organised by Rebecca Stephens and the Himalayan Trust. This took place on 8 June, the exact date the two climbers were last seen by Captain Noel Odell ‘going strong for the top.’ It was an extraordinary and moving event and we all felt that the centenary of the greatest mountaineering mystery of all time had been well and truly put to bed. I even announced my intention to retire from Everest-related matters.

And so I returned to the rarified air of high fashion and Vogue history. Over the summer I finalised the selection of images for the plates section, saw the final proofs off to the setters and then, as readers of this blog will know, I was fortunate enough to see the book coming off the presses on 3 September. After a short but lovely walking holiday in Greece, I returned to a frenzy of pre-publication activity for the Vogue biography. There was a glitzy launch at Iconic Images Gallery in London and a Q&A with former Vogue editor, Alexandra Shulman at the V&A at which we discussed Vogue, clothes and other things that matter.

One of the issues we talked about was how all of us make fashion choices every day, even if we think we are not interested in fashion. We make a decision about whether it’s a jeans or dress day, whether it’s warm enough to wear shorts or a skirt without tights, whether we’re trying to dress to impress or simply to wear clothes appropriate for the task in hand. Our clothes tell others so much about who we are, what we are doing, and in the case of history, to what time period we belong. Audrey Withers, Vogue’s editor in the 1940s and 1950s, said she could date a dress to a season and tell you what was going on at the time politically and economically.

Imagine my surprise when I received a call one morning the following week from a high-altitude filmmaker in Kathmandu who wanted to talk about an old boot he had found in a glacier on Everest a few days earlier. The boot was leather with nails (for grip), meaning it had been used for climbing. There was a thick woollen sock poking out from the boot – brown and cream (café au lait?) which meant the wearer had been clear that he or she wanted to keep their feet warm at altitude. Actually, I knew it was a ‘he’ because no women were on Everest in the era of nailed leather boots. It matched in type, design and weight, the boot found on George Mallory’s body in 1999. Could it possibly be a boot belonging to Sandy Irvine? If so, that would blow all the most recent theories of the Chinese removing Irvine’s body from the mountain to smithereens. How could we possibly prove it? Simple, as it turns out. Stitched perfectly onto the sock was a Cash’s name tape: A. C. IRVINE.

This incredible find, made by climber/filmmaker Jimmy Chin when he was on his way down from the upper mountain, has opened up the whole mystery of Mallory and Irvine for the second time. And in the centenary year, a quarter of a century after Mallory’s body was found by Chin’s friend and mentor, Conrad Anker, in May 1999. The fact that Chin found only a boot and sock (with the foot too) is tantalising and begs the question as to what happened and where is the rest of Sandy Irvine’s body. I have studied the mystery of Mallory and Irvine for nearly 30 years, and I have spoken to many climbers, filmmakers, mountaineering historians, glaciologists and artists. I know that objects caught in glaciers are moved, crushed and spat out by the slow-moving rivers of ice. Andy Parkin, an artist in Chamonix, specialises in sculptures created from found and recycled objects, often crushed and changed by the Mont Blanc glacier. I knew from conversations with him how things can reappear years after they fell into the ice.

Mallory replica clothing recreated by Mike Parsons & Mary Rose from fragments found on his body in 1999 (Mountain Heritage Trust)

Those who know the story of Mallory and Irvine well are aware of the sighting of ‘an English Dead’ by a Chinese climber in the 1970s. The body, as he described it to a Japanese climber a decade later, was sitting upright, as if asleep, and was wearing old fashioned clothing, puttees and red braces. Mountaineering historians Audrey Salkeld and Thomas Holzel concluded this could only be Sandy Irvine. They set off to find out if that was indeed the case, but their search was not successful. When Eric Simonson’s Anglo-American expedition set off in 1999 to search for Irvine’s body they contacted my father, Peter, and asked for a DNA sample so they could identify the remains if they found them. In the event, the climbers stumbled upon the remains of George Mallory. Photographs of his frozen body ricocheted around the globe and a whole new generation of Everest enthusiasts became hooked on the story.

One of those I spoke to frequently was Graham Hoyland, who was key to the 1999 expedition and is a relative of another member of the 1924 Everest team, Howard Somervell. In 2011 we were discussing yet another expedition planning to try to find Irvine’s body and he said: ‘I think it’s unlikely that they will find anything. There has been a lot of avalanche activity and probably landslides in the region of old camp VI. I reckon your great uncle will have been sluffed off the mountain and into the glacier.’ I distinctly recall that word sluffed. Since then, other expeditions have tried to find Sandy Irvine’s remains and all have failed. One recent expedition leader, Mark Synott, has gone on record to allege that the Chinese had taken Sandy Irvine’s body off the mountain. In the Daily Mail in April 2024 he is quoted: ‘We now have multiple sources all essentially saying the same thing: the Chinese found Irvine, removed the body, and are jealously guarding this information from the rest of the world – all to protect the claim that the 1960 Chinese team was the first to reach the summit…’

Well, that’s one theory that is well and truly put to bed now. Sandy Irvine’s body was never removed from Everest. That the boot is his, there is no doubt, thanks to the name label on the sock. And just for fun, the invoices for both the boot and the lambswool socks are in the archive of Merton College, Oxford. There is even a photograph of Sandy drying his socks at Shekar Dzong in the collection of the Royal Geographical Society. Sometimes history comes together beautifully, like a perfectly knitted woollen. And it turns out that clothes do matter.

These two images courtesy Sandy Irvine Archive, The Warden and Fellows of Merton College, Oxford

Home Fires Season 2 Episode 5 Fur and Friction

ITV STUDIOS PRESENTS HOME FIRES SERIES 2 Pictured: FRANCESCA ANNIS as Joyce, CLARE CALBRAITH as Steph,RUTH GEMMELL as Sarah,FENELLA WOOLGAR as Alison, CLAIRE PRICE as Miriam, LEANNE BEST as Teresa.SAMANTHA BOND as Frances,FRANCES GREY as Erica and CLAIRE RUSBROOK as Pat. This image is the copyright of ITV and must only be used in relation to HOME FIRES SERIES 2.
HOME FIRES SERIES 2
© ITV

When I am asked what it is about the Second World War that fascinates me so much I reply that it is not war but people who excite my interest: how individuals cope in a time of emergency and how such events impact upon their later lives. One of the practical aspects that had to be considered was clothing and it is something I am regularly asked about in regard to Home Fires. Just to be clear, I am not involved in the production of the drama – my involvement stops with the scripts – but I did have the great good fortune to talk to the series costume designer, Lucinda Wright, in the lead up to filming series 1 and she took me round the fabulous collections of clothes at Angels Costumes in London. Their website claims they have over one million items and eight miles of hanging costume. Well, I didn’t see them all but Lucinda and I did discuss colour and fabrics in some detail.

HOME FIRES EPISODE 4 Pictured:CLARE CALBRAITH as Steph Farrow. This image is the copyright of ITV and must only be used in relation the HOME FIRES on ITV.
CLARE CALBRAITH as Steph Farrow.
© ITV

Everyone in Home Fires is dressed to their status. Steph Farrow wears dungarees in the fields but once she arrives at a WI meeting she is scrubbed clean and wearing a patterned dress, as would have been the case in the 1940s. Edith Jones, the wonderful diarist whose jottings form the golden thread through my book Home Fires, would always change into a frock in the evening for supper, even if it was just her and Jack eating dinner together. She is similar to Steph in many ways. At the other end of the spectrum is Joyce Cameron. Always meticulously turned out and often wearing fur. Until the 1970s when there was a huge animal rights’ movement against fur coats, women of a certain standing would have one, two or even three fur coats in their wardrobe: a mink for the evening, a pine-marten for day use and a fox stole to wear over a tweed coat.

b7f9d1f0aaf0c9c9566f2ef041ace918

One major change in Britain during 1940 was the proportion of people wearing uniform. You might not have noticed the change between series 1 and series 2 but it is striking and absolutely reflects what was happening in the country. About a third of the population of Britain were entitled to wear uniform during the Second World War. This would give a figure of somewhere in the region of 15 million people, a large number of whom were women. So we have in Great Paxford a mixture of RAF, Army and women’s service uniforms – that much is obvious. But then there are the women working in the Barden’s factory who all wear pinafores over their own clothes to protect them. Clare wears a uniform when she is working for Frances Barden as a maid, though not on her days off with Spencer. House coats, such as those worn by Pat, were popular and a sensible way to keep the wear and tear of ordinary clothes to a minimum.

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured : FRANCES GREY as Erica Campbell, CLAIRE RUSHBROOK as Pat Simms and SAMANTHA BOND as Frances Barden. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
House coats galore! © ITV

With so many people wearing them, it is unsurprising that the general public knew how to ‘read’ uniforms across a street or at the scene of an incident, and could identify at a glance a man or woman’s job, rank and status. And it was very important to know and trust the person who was issuing an instruction, especially during the Blitz, when people needed to know who to listen to or appeal to in a crisis. Aside from emergencies, uniforms had a hierarchy with implications on many levels, some of them more personal than official.

WW2 Christmas card, Escort! A Chelsea Pensioner looks in admiration at an RAF airman with an elegant woman on each arm. 1941
WW2 Christmas card, Escort! A Chelsea Pensioner looks in admiration at an RAF airman with an elegant woman on each arm.
1941

Some uniforms, such as the Royal Air Force blue, gave men real status in women’s eyes. This was partly because it comprised a smaller body of men than the army, and their jobs, especially the pilots, were considered heroic and extremely dangerous. They were known as ‘Our Glamour Boys’. The PBI (Poor Bloody Infantry) suffered in their khaki uniforms from being the least admired of the three services by the general public. Members of the women’s services (just over 100,000 in June 1941) were said to grade potential boyfriends in an order of eligibility in which ‘RAF officers rated tops, being classified in turn by rank and number of decorations; naval officers came second and brown jobs a long way behind’.

So as you are watching Episode 5 of Home Fires, it is worth looking out for the distinctions of dress and the way different people react to it. That is, if you have time to notice that level of detail when there is so much drama going on around you. This is another breathtaking hour where I lurched from near tears of enchantment to gasps of horror. Enjoy Sunday evening!

cover Home Fires full 6.24.15

HOME FIRES Series 2 Episode 5 Fur, Fashion and Friction

When I am asked what it is about the Second World War that fascinates me so much I reply that it is not war but people who excite my interest: how individuals cope in a time of emergency and how such events impact upon their later lives. One of the practical aspects that had to be considered was clothing and it is something I am regularly asked about in regard to Home Fires. Just to be clear, I am not involved in the production of the drama – my involvement stops with the scripts – but I did have the great good fortune to talk to the series costume designer, Lucinda Wright, in the lead up to filming series 1 and she took me round the fabulous collections of clothes at Angels Costumes. Their website claims they have over one million items and eight miles of hanging costume. Well, I didn’t see them all but Lucinda and I did discuss colour and fabrics in some detail.

I have been involved in researching the Second World War for the best part of fifteen years and fashion and clothing are a fascinating aspect of the social history of that era. It was a time of uniformity on the one hand and individual expression on the other. What people wore and how they felt about it – whether smart in battle dress or tatty in patched and darned clothes – said much about the spirit of the time. What people wore in the countryside was no less expressive than outfits seen in the towns and cities.

ITV STUDIOS PRESENTS HOME FIRES SERIES 2 Pictured: CLARE CALBRAITH as Steph Farrow This image is the copyright of ITV and must only be used in relation to HOME FIRES SERIES 2.
Steph Farrow, changed out of her farm clothes to meet Stanley from the bus © ITV

Everyone in Home Fires is dressed to their status. Steph Farrow wears dungarees in the fields but once she arrives at a WI meeting she is scrubbed clean and wearing a patterned dress, as would have been the case in the 1940s. Edith Jones, the wonderful diarist whose jottings form the golden thread through Jambusters, would always change into a frock in the evening for supper, even if it was just her and Jack eating supper together. She is similar to Steph in many ways. At the other end of the spectrum is Joyce Cameron. b7f9d1f0aaf0c9c9566f2ef041ace918Always meticulously turned out and often wearing fur. Until the 1970s when there was a huge animal rights’ movement against fur coats, women of a certain standing would have one, two or even three fur coats in their wardrobe: a mink for the evening, a pine-marten for day use and a fox stole to wear over a tweed coat. The Board of Trade slapped a 100% purchase tax on luxuries such as fur coats during the war but they were still popular and widely worn.  Hats were de rigeur for church, shopping and most social outings, though as the war progressed a certain degree of informality crept in and some women went bare-headed. Although they were never rationed, hats were not always easy to find in the shops after 1941 but for the summer of 1940 there would still have been plenty in evidence.

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured : FRANCESCA ANNIS as Joyce Cameron. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
Immaculately dressed Joyce Cameron © ITV

ITV STUDIOS PRESENT HOME FIRES EPISODE 5 Pictured: LEANNE BEST as Teresa. This image is the copyright of ITV and must only be used in relation the HOME FIRES on ITV.
Teresa Fenchurch in her city dress and coat © ITV

Teresa Fenchurch comes from Liverpool and stands out from the rest of the women in the village on account of her wonderful Liverpudlian accent and her city wardrobe. She wears wool, not tweed, and her clothes are often bright and single coloured rather than patterned. As a teacher she is an outsider in that she has a profession and a secret. It is apt that she lives with the other outsider in the village, Alison Scotlock, who also has a profession and a secret. Women teachers made up a large proportion of the profession in the war as many young men left their posts to fight. Pre-war when a teacher married she would have to give up work but this changed in the early years of the war as the government could not afford to lose qualified teachers, especially in villages where there was often only one teacher for the whole school.

One major change in Britain during 1940 was the proportion of people wearing uniform. You might not have noticed the change between series 1 and series 2 but it is striking and absolutely reflects what was happening in the country. About a third of the population of Britain were entitled to wear uniform during the Second World War. This would give a figure of somewhere in the region of 15 million people, a large number of whom were women. So we have in Great Paxford a mixture of RAF, Army and women’s service uniforms – that much is obvious. But then there are the women working in the Barden’s factory who all wear pinafores over their own clothes to protect them. Clare wears a uniform when she is working for Frances Barden as a maid, though not on her days off with Spencer. House coats, such as those worn by Pat, were popular and a sensible way to keep the wear and tear of ordinary clothes to a minimum.

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured : FRANCES GREY as Erica Campbell, CLAIRE RUSHBROOK as Pat Simms and SAMANTHA BOND as Frances Barden. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
Housecoats to the ready for blackberry picking! ©ITV

With so many people wearing them, it is unsurprising that the general public knew how to ‘read’ uniforms across a street or at the scene of an incident, and could identify at a glance a man or woman’s job, rank and status. And it was very important to know and trust the person who was issuing an instruction, especially during the Blitz, when people needed to know who to listen to or appeal to in a crisis. Aside from emergencies, uniforms had a hierarchy with implications on many levels, some of them more personal than official.

WW2 Christmas card, Escort! A Chelsea Pensioner looks in admiration at an RAF airman with an elegant woman on each arm. 1941
A Chelsea Pensioner looks in admiration at an RAF airman with an elegant woman on each arm. WW2 Christmas card © IWM

Some uniforms, such as the Royal Air Force blue, gave men real status in women’s eyes. This was partly because it comprised a smaller body of men than the army, and their jobs, especially the pilots, were considered heroic and extremely dangerous. They were known as ‘Our Glamour Boys’. The PBI (Poor Bloody Infantry) suffered in their khaki uniforms from being the least admired of the three services by the general public. Members of the women’s services (just over 100,000 in June 1941) were said to grade potential boyfriends in an order of eligibility in which ‘RAF officers rated tops, being classified in turn by rank and number of decorations; naval officers came second and brown jobs a long way behind’.

Unit stills photographyITV STUIDOS PRESENT HOME FIRES EPISODE 5 Pictured: LEANNE BEST as Teresa Fenchurch, MARK UMBERS as Nick Lucas and JODIE HAMBLET as Jenny. This image is the copyright of ITV and must only be used in relation the HOME FIRES on ITV.
Wing Commander Nick and Teresa meet Jenny on Great Paxford High Street © ITV

So as you are watching Episode 5 of Home Fires, it is worth looking out for the distinctions of dress and the way different people react to it. That is, if you have time to notice that level of detail when there is so much drama going on around you. This is another breathtaking hour where I lurched from near tears of enchantment to gasping with horror. Enjoy Sunday evening!

FASHION ON THE RATIO#FBD103 (2) compressed

In the autumn of 2014, while the first series of Home Fires was being filmed, I was writing a book for the Imperial War Museum about wartime clothing and fashion. It was a lovely project to work on and I greatly enjoyed delving into the Board of Trade’s archive. This department was responsible for the length of men’s socks and the width of the gusset in women’s knickers.

Fashion on the Ration was published by Profile Books in paperback in February 2016 and is the subject of a major exhibition at IWM North starting next month and running until spring 2017. Warning: this book contains Forces bloomers and corsets!

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