Archival history
Citation in publication [Oliver, Tina, 'Smocks: A Guide to the Collections' (Reading: The University of Reading, 2000)] – ‘63/280–286 // The smocks in this group originate from The Bere Regis Arts and Crafts Association, Bere Regis, Dorset. The association was formed in 1905 by the Vicar’s wife, the members of the association produced smocks and raffia baskets from 1905 until 1919. The son of the founder donated the smocks to the Museum in 1963. In a letter written in 1963 the donor says ‘Mrs. Bere’s interests were artistic rather than historical; and she believed that the old English smock, with the traditional form of design based entirely on squares and oblongs, had great intrinsic artistic merit. She also admired greatly the traditional patterns and showed splendid scorn for those who described the gathering across the chest as ‘smocking’. p.18, Citation in publication [Oliver, Tina, 'Smocks: A Guide to the Collections' (Reading: The University of Reading, 2000)]– ‘A long decorative smock made of blue linen, and beautifully made showing a high level of technical skill. The reversible smock is elaborately smocked and embroidered. The smock has hand made Dorset type buttons, set side-by-side in pairs, and thread loops to fasten the neckline and cuffs. The embroidery design consists of large four-petal flower motifs inside diamond shapes with smaller three-petal motifs outside the diamonds. The diamond is repeated on the yoke, the smaller motifs on the collar and cuffs forming a border. The indications are that this smock was ‘made to measure’, considering its long length with low set pockets, small armhole and wide cut neckline.’ p.18, Photocopy of printed report – 'COUNTRY LIFE - AUGUST 11, 1966 // OLD ENGLISH SMOCKING PATTERNS // By RENNIE BERE // For many centuries, throughout a large part of England, the smock was the garment commonly worn by agricultural labourers and rural tradesmen. It almost certainly dates from before the Norman Conquest, as the word "smock" derives from the Anglo-Saxon smog-en, meaning "crept into" - apparently this refers to the fact that these garments were always pulled on over the wearer's head. [...]', Photographic prints – 'Acc. No // 63/281 // Neg. No. // 60/5979', MERL 'Handwritten catalogue' form – 'SMOCK // Personal - Clothing - Garments // Rennie M. Bere. // made by the Bere Regis Industry.', MERL 'Handwritten accession' form (Institute of Agricultural History) – 'Standard museum name: SMOCK // Accession number: 63/281 // Classification: PERSONAL clothing garment // Negative number: 60/5979 // Acquisition method: GIFT // Date: November 1963 // Store: SMOCK CUPBOARD // Condition: good, some stains // Recorder: JMB // Date: 6.3.90 // Description: A light blue linen smock machine sewn with white thread. It has two pockets with flaps and buttons at the neck and cuffs. // There is smocking on the front and back, on top of the sleeve and at the wrists. Embroidery at front and back, on the collar, shoulders, cuffs and pocket flaps. The buttons are hand made of the Dorset type // Dimensions // see over // Associated information // This smock was made at the Bere Regis Arts and Crafts Centre in Dorset between 1905 - 1919. [page break] // Length of smock: 51 1/4” // chest: 17 1/4” // Sleeve length: 22 1/3” // width: 10 1/3” // Cuff length 1 3/4” // Neck opening 4 1/4” Smock panel 9 1/2” deep 10 3/4” wide // Embroidered side panels 10 1/8” deep 3 1/4” wide // Associated information: This smock was made at the Bere Regis Arts and Crafts centre in Dorset between 1905–1919. // References:’, MERL ‘Temporary Catalogue’ form – ‘Sheet 1 of 2 // material(s) pale blue linen, white thread, linen covered white Dorset buttons // Condition: generally good // total length; 136 cm // collar depth; 13cm // cuffs depth; 4cm // [...] // Description: handsewn; style: round frock but back and front made from 2 pieces of material of unequal size, 4 buttons placed in pairs with 2 loops at back and front neck; collar: 2 straight pieces; cuffs: straight bands, 1 button on each; pockets: set in across side seams, flaps, 1 button on each; [page break] tubing: cable, points and chain (includes block of ‘honey combing’), back and front – 40 rows, sleeves, top and above cuffs – 14 rows; embroidery: feather stitch, single & double, boxes – 3 large 4-petal flower motifs in diamonds with 4 3-petal flower motifs at sides, edged, collar – border, edged with 3 petal motifs (7 on each side) and short wavy lines, shoulders – 1 4-petal motif in diamond, edged, cuffs – as collar, 3 motifs on each, pocket flaps – border 3 sides – as collar, neck opening – edged. // Sheet 2 of 3 // [...] pockets flaps ht x w; 9.5 x 21 // tubing, back and front ht x w; 27 x 20cm // " sleeves, top ht x w; 8 x 5cm // Sheet 3 of // tubing, sleeves, above cuff ht x w; 8.5 x 9cm // hem circumference; 266cm’, Rennie M. Bere, October 1963 – ‘The Bere Regis Arts and Crafts Association // This association formed in 1905 or 1906 in the village of Bere Regis, Dorset with the object of interesting local workers in the making of raffia baskets and smocks of traditional old English pattern. The founder and organiser was Sarah Lucy Bere, wife of Rev. Montague Acland Bere, vicar of Bere Regis from 1905 to 1919. The association had its heyday in the years before World War I and, in effect, must have ceased as a corporate enterprise when both vicar and founder left for war service early in 1916. In 1919 they returned but for a few months only and, thereafter, though a few individual workers continued to take orders, either direct or through Mrs. Bere, the association ceased as such. // The association used to meet on regular days each week in a special room in the vicarage and it seems that there were about fifteen or twenty regular workers, all women of the village. The baskets were made of raffia without cane and appear remarkably similar to the well known Nubi-type baskets commonly made in various parts of Africa. By far and away the most important part of the work was the smocking, however. And, amongst other patrons, Queen Alexandra showed interest in the work and accepted a smock from Mrs. Bere at about the time of the Coronation of 1910. // Mrs. Bere’s interests were artistic rather than historical; and she believed that the old English smock, with the traditional form of design based entirely on squares and oblongs, had great intrinsic artistic merit. She also admired greatly the traditional patterns and showed splendid scorn for those who described the gathering across the chest as ‘smocking’. It is probably that her interest was aroused first by old smocks in the Dorchester museum which her uncle, Capt. J.E.A. Acland was at one time curator. She collected patterns from various sources and localities; many of these being included in her sampler. Mrs. Bere’s view seems to have been that the smocking patterns were not simply representative of the county or region in which they were worn as was generally supposed but, subject to some local variation and the local prevalence of certain trades, represented the trade of the wearer. So a farmer wishing to engage a ploughman or a carter, a shepherd or a gardener had only to look at the smocking patterns of the men who went to the local markets looking for jobs. The writer of this note offers no opinion as to the correctness of this view.’
