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Sindy Mamselle Outfits

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The Mamselle Gear Get Ups range of outfits were made in Lines Brothers Richmond factory between 1965 and 1967. They were designed for Sindy, Paul and Patch and for all 10 to 12 inch teenage dolls. They cost less than the official Sindy outfits, and whilst this did not detract from the quality of their design; the cheaper manufacturing and materials used sometimes does.

Some of these garments had labels, but they are very rare, see above left. Another way to recognise them is that they have very distinctive flat Newey poppers, see the two photos above middle and right.

Cataloging the Mamselle range is extremely difficult and we have been unable to find a single definitive source of all the products available. We have gathered together everything we can find but our own collections are incomplete and we would be grateful for any advice other collectors might have on this range.

The Mamselle range suffered the same fate as Paul when Lines Bros. (Richmond) Ltd rationalised pending the move to Canterbury. Because they were only available for such a short time, and also because they were not quite the same quality, and perhaps because they were not so prized at the time as the real Sindy outfits, good examples of these are now extremely hard to find and can fetch enormous prices.

A pack of eight (we think) assorted shoes for teenage dolls. Although not necessarily made for Sindy, they sometimes included some of the Sindy range shoes such as her kitten heel court shoes, but others were the more distinctive Mamselle flat T-bar shoe range. These were made of hard plastic and had Cinderella D.02 written on the sole. They came in a wide range of colours, we have seen white, black, tan, gold, red, yellow, royal blue, baby blue and pink.

A simple short-sleeved, pink poplin shift dress with a navy blue bib inset. The bib was edged in white cotton lace and with four vertical rows of white detail stitching. The dress had a white plastic Peter Pan collar. It fastened at the back with a flat white painted metal popper.

A sleeveless, aqua/turquoise blue cotton A-line day dress with an inset front panel detailed in black stitching to look like a pleat. The neck, armholes and hem were trimmed with black cotton binding and there was a black plastic ribbon tie attached to the front of the dress just below the neck. It fastened at the back with a flat black painted metal popper.

Described askinkyin the Pedigree catalogue, this sleeveless shortie nightshirt and matching briefs were made of blue and white striped cotton. The bottom hem edge of the nightshirt and both the arm and leg holes were bound in a red binding, with a matching red bow on the nightshirt. The neck and chest of the night shirt and the top of the briefs were trimmed with cotton lace. The nightshirt fastened with a flat white painted metal popper. There was a pair of white daisy sandals for her feet and for bedtime reading she carried a copy of The Beat Express magazine which was made from double-sided printed card. This magazine can be found printed in both yellow and green as shown below.

A high-waisted long-sleeved party dress. The dress consisted of two parts sewn together. There was a sleeveless underdress with a floral pattern on a turquoise-blue background made of cotton. Over this was an overdress of light blue chiffon which formed see-through long-sleeves with gathered cuffs. The dress was trimmed with white cotton lace round the neck, at the cuffs, the low back opening and bottom hem. At the neck there was a light blue satin grosgrain ribbon tab decorated with a flat pale blue painted popper. The dress fastened at the back with the same flat pale blue painted popper. There are variations of this dress with different floral material and with different coloured ribbon tabs and poppers, the chiffon overdress can also be found in different colours.

A sleeveless white cotton motif T-shirt with a slash neck and a denim skirt. This T- shirt was very roughly made of stretchy cotton, interlock stitched to stop it fraying around the neck, arms and along the bottom, although the opening at the back was finished off with a thicker cotton material probably to attach the flat red painted metal popper it fastens with. Printed on the T-shirt in a red print was the Sindy S from her logo. Teamed up with a grey denim hipster skirt which fastened at the back of the waist with one flat black painted metal popper. The skirt had four light grey belt loops with white stitch detail, sewn on at the waist which held a wide red plastic belt. We dont think this outfit came with shoes.

A knee-length cream coloured dress made of a light cotton flannel. It had a high waist with two darts under the bust and three-quarter length sleeves. The sleeves and yoke were made of a fine machine knitted wool and cotton thread pattern to give the effect of crochet. The sleeves and neckline were finished with a white binding and the dress fastened with two flat brass poppers at the back. On her breast Sindy wore a tiny detailed gold fob watch which fastened on the dress with a tiny brass broach pin (see inset photos on the right). The watch is very detailed with a watch face on one side and the watch mechanism with cogs and screw heads on the back. In edition 6 of 12S magazine this outfit is shown with cream tights which match the crochet pattern of the sleeves and yoke, however we have never seen these and would be interested in whether any collector actually has them, as they are not referred to in any style leaflets we have seen. We are also unsure as to what shoes (if any) came with this outfit.

Everything Sindy would need for a night in washing her hair. Indeed the 1966 Pedigree trade catalogue described it asEverything for Friday night shampoo and set.The contents were not listed but included in the catalogue illustrationwere multi-coloured curlers, a Sindy shampoo sachet, hair net, hair grips, brush comb, and a golden yellow towel printed with a red Sindy S.

We have two versions of this set to show you. We think the one above left is an earlier set and the one above right is the later set. We believe this set was originally a generic Lines Brothers Triang product(see the Triang catalogue above top left and centre). It was repackaged, repurposed, and repositioned for Sindy as a Mamselle Gear Get Up product.

The problem with these sets is that it is difficult to know what was originally included because they contain little pieces that are easily lost and which may have been substituted over the years. Neither set has a towel but between them one can see that the set included eight curlers, a shampoo sachet, hair net, hair grips, brush, comb mirror.

The later set (above) was found with two shampoo sachets. An original Mamselle shampoo sachet and also the Sindy shampoo sachet with red writing. The owner suspects that one of these sachets was added to this set later on, but which one? As you can see the 1966 Pedigree trade catalogue illustration depicted the later Sindy shampoo sachet with the red writing together with a towel (an example is shown above right). These accessories look identical to those included with Sindys first Bath (see 1968 Scenesetters). We dont know if this Mamselle set was actually updated to include these new Sindy accessories, or whether was it just depicted with these Sindy items as a marketing tactic to appeal to the new market of Sindy owners. We suspect that it was not actually updated because we cannot recall ever seeing one with the towel.

But, if you have seen an updated set or if you have any more information on this intriguing set, please do get in touch.

A sleeveless shift dress made of a kind of basket-weave cotton with a green, gold and pink floral print on a white background. It had a white vinyl rounded collar, a deep pink satin grosgrain ribbon tie and it fastened at the back with a flat white painted metal popper. We are also unsure as to what shoes (if any) came with this outfit.

Above right is another pretty variation of this dress.

An orange poplin sleeveless shift dress with a contrasting yellow cotton trim on the neck, armholes and faux slant-pockets. The trim is picked out in a black overstitch which is also used on the hemline, back opening and down the front seam to a single kick pleat. The dress is fastened at the back with a flat black painted metal popper. We are also unsure as to what shoes (if any) came with this outfit.

Sindys Garden was a pretty floral box containing a red plastic trough with a yellow Sindy sticker on the side and a contrasting yellow plastic drip tray, two yellow plastic flower pots with contrasting red pot saucers, a plastic bag of compost labelledSpecially prepared for Sindys Gardenand two packets of seeds also labelledSpecially prepared for Sindys Garden.The seeds were dwarf varieties of Phlox and Livingstone Daisies and they came in beautifully illustrated packets showing Sindy, Paul Patch working in a greenhouse. Sindy was wearing her Weekenders outfit, Patch was in her Dungarees and Paul had his Casuals sweater on.

Lovely accessories for Sindy outfits. A white Mamselle handbag, white stockings and white plastic calf-length ankle boots. There was also a long shimmering purple chiffon scarf (top left hand corner) made from the same material as the top layer of the Mamselle Hello Dolly dress and the headband. Very 1960s in their style and so fashionable at the time especially the white stockings.

The photo above right shows how the scarf, stockings and handbag could be used to accessorise an outfit, in this example Op Art (see immediately below). The scarf was quite a crude item and it was finished off without a seam. Therefore, there was a tendency for the edge of the fabric to fray quite badly, which may account for why this item is so very hard to find today.

Optical art is an art form concerning the interaction between illusion and picture, and understanding and seeing, such works are abstract, with many of the better known pieces made in only black and white. The term was first used in 1964 and in this regard Sindys dress really does reflect the times. This was a sleeveless dress with a scoop neck and a low V-back. The bodice was made of white cotton with a honeycomb design in the weave of the material. The armholes and neck were bound in black and overstitched in white, and the two-tone effect was carried through to the skirt which was printed with an op art design. The black and white theme was continued with the decorative black faux-belt with a white tag sewn on the skirt. The dress fastened at the back with a flat black painted metal painted popper.

A beautifully simple dress in a candy pink fine wool crepe with a high waist and long sleeves. The round neck and gathered cuffs were trimmed with white cotton lace. It had a matching ribbon sash belt to tie under the breast and another for the hair. It fastened with one flat silver or white popper at the back of the neck. The ribbon in this photo is not original. We are also unsure as to what shoes (if any) came with this outfit.

A navy blue two-piece suit made of cotton sailcloth. All the edges were trimmed with red binding and there is a decorative white hoop on the collarless jacket and which is repeated on the skirt. The jacket fastened at the front with one white painted metal flat popper, and the skirt fastened at the back of the waist with one flat red painted metal popper. It came with a Mamselle handbag which was made of a white vinyl which fastened with a pull-though brass stud and a pair of Sindys white kitten heel court shoes. We have variations of this outfit which are believed to be authentic, there is a version which is made of a softer lighter coloured cotton with a slightly different shaped bag, and a version which has a flat red painted metal popper at the front rather than white (see photo on the right).

A thick white cotton fishermans knit jumper with a thickly ribbed neck, wrists and waist. It came with a pair of navy three-quarter length trousers made of cotton sailcloth. The trousers had turn-ups and a front fly fastening of a flat Newey metal popper with a black plastic cap (we dont know whether there are others which were just painted). There was a yellow vinyl duffel bag with a red white cord and the outfit was completed with a pair of flat white shoes. We understand that this outfit came with a pair of Sindys white lace-up sneakers and a pair of her sunglasses and so we have included these in the photo.

Fully-lined with white satin, this blue, green and white finely brushed cotton plaid coat and matching peaked bakers boy cap was very fashionable. The collar of the coat and the peak of the cap were made of shiny black plastic. The coat fasted with three black painted metal poppers. The cap wasnt lined and was made up of four triangular pieces of fabric with a flat black painted metal popper at the crown which they met. A shiny black shoulder bag with a fringe and a front flap, with a stud on it which did not open, and a pair of black knee high boots completed the outfit.

For this party dress, Sindy was given a 1920s flapper-style, sleeve-less, knee-length dress made of of purple cotton covered with a layer of beautiful shimmering nylon chiffon. It had a low waist, scooped neckline, the armholes were trimmed with a white nylon binding and the dress fastened at the back with a flat black painted metal popper. The skirt was decorated with three tiers of fine white fringing, each tier decorated with a white cotton embroidery flower. There was a matching headband made of a piece of the purple chiffon folded and stitched to a one inch piece of thin white elastic, and a pearl Charleston necklace. The dress also came with a pair of backless sandals which look like Sindys kitten heel two-strap backless sandals; however we cannot establish which colour they were, as we have seen conflicting references to both her white and her gold black sandals.

A chocolate brown, corduroy sleeveless pinafore dress trimmed with black cotton binding on the armholes and neckline which fastened at the back with a flat black painted metal popper. Underneath the pinafore was a mustard coloured, long-sleeved, turtle-neck cotton knit jumper with ribbing around the neck, wrists and waist which fastened at the back of the neck with a flat black painted metal popper. The outfit came with black cotton stretch tights and a silver medallion which could be worn as a necklace or as a chain belt. The medallion had the head of an Egyptian Pharaoh on it and is now extremely hard to find. We have seen this item boxed and it did not come with shoes.

Described as agoing away ensemblethis is a three piece outfit consisting of an collarless edge-to-edge duster coat, a co-ordinating sleeveless dress and a matching hat. The coat was made of pink cotton with the edges (but not the hemline or the cuffs) edged in orange binding. There were two chest height faux-pocket lapels made of the same orange trim. The faux-wraparound dress (it is actually sewn from the hemline to the waist) was made of a complimentary orange, pink and white floral cotton, with orange cotton binding around the armholes. It was trimmed down the front and around the neck with a ruffle of the same material, and it fastened with one white painted metal popper at the front of an elasticated waist. The hat was made of four triangular sections of the floral material sewn together with a little brim of the same fabric ruffle with a stylish slight overlap. It had a little orange loop on the crown where the four sections met. Although shown here in these photos with pink Mamselle shoes, we believe this outfit actually came with white kitten heel court shoes.

This gorgeous long-sleeved gown had a red velvet scooped-necked bodice with a low V-back and was trimmed with white fake fur around the wrists and neckline. The full-length creamy satin skirt had an embossed snowflake pattern sprinkled with coloured glitter and there was a stiff net underskirt to ensure the pattern could be shown in all its glory. The gown fastened at the back with one flat white painted popper. There was a silky blue ribbon sash with MISS Sindy printed in red and it fastened with a fine gold stud similar to a split pin. There was a silver metal crown. We are unsure as to what shoes (if any) came with this outfit.

A three piece outfit consisting of a collarless jacket and matching skirt made of apple green textured cotton linen with a turquoise cotton binding around the collar and front edges of the jacket, and around the waistband and hemline of the skirt. The binding formed a bow-tie fastening for the jacket and the skirt fastened with one flat brass popper at the back of the waist. Underneath the jacket was a sleeveless cotton blouse of a co-ordinating white, turquoise, green and salmon pink floral print. It had the same turquoise binding around the armholes and it fastened with three brass poppers down the front (please see photo on the right). We are unsure as to what shoes (if any) came with this outfit.

, this lovely casual set was just right for messing about on boats. It consisted of a pair of white cotton drill bell bottoms edged in a blue cotton trim and with a red cotton hoop trim approximately one inch from the bottom of the legs. These trousers fastened with one flat dark blue painted metal popper. On top Sindy wore a white mesh top with three-quarter length sleeves. The neck front was scooped in shape whereas the back was more V-shaped. The bodice was lined with a thin dark blue cotton and the edges of the sleeves were also trimmed in the same blue binding as the trousers. The top opened down the back and fastened at the back of the neck and at the waist with two flat dark blue painted metal poppers. For Sindys head there was a navy blue captains hat made of thick dark blue cotton with a dark blue vinyl peak. It had an elasticated hat band and there was a jaunty gold coloured metal anchor emblem attached above the centre of the peak. She carried a light blue duffle bag which was made of plastic with a grained effect. It was glued rather than stitched and it had with a red white twisted string handle. This outfit did not come with shoes.

A red long-sleeved, low-waisted coat with a matching hat. The coat was made of a soft wool material in a bright pillar box red. The neck, cuffs and hemline were edged with faux-fur leopard skin. The front edges were trimmed with a black cotton binding and the coat fastened at neck with one flat black painted metal popper with another hidden sewn-on metal snap fastener at the waist. The drop waist was accentuated with a row of black stitching. The large beret style hat was made of the same faux-fur leopard skin decorated with a faux-fur bobble. The outfit was completed with a large white plastic oval shoulder bag with a flap which fastened with a gold split pin type stud, it is did not open. We cannot verify the footwear but we believe this outfit came with white plastic calf-height shortie boots.

This was a striking dress reminiscent of a chequered flag which was used to used to promote the new Ford Cortina MkII in 1966. The Sindy version is a faithful replica, and was a long-sleeved shift cotton dress with a solid white round-neck cotton collar. The matching chequered hat was made up of four pieces of triangular fabric stitched together and it had a white flipped-up brim to match the dresss collar. It fastened at the back with flat white painted metal popper. Photo above right 40th anniversary issue of MkII Cortina Owners Club magazine, and photo below one of the original adverts.

Bahama Bound was a three piece outfit. It consisted of sleeveless wrap-over beach dress with an attached white satin ribbon tie belt (the same ribbon as used for the ribbon ties on the jacket in first version of Bridesmaid). It was made of pale blue and green gingham cotton with pale blue cotton binding around the edges. Under the wrap-over dress, Sindy wore a bikini. The bikini pants are the same style as Bedtime Beauty with an elasticated waist but bound leg holes, and the bra-top is a cross-over style made of gingham triangles bound completely with the blue tape which formed the shoulder straps which are looped at the bottom and slide onto the back straps. The back-straps fastened with one flat white painted metal popper. It came with a domed shaped straw hat which had elastic strap attached to each side of the brim to hold it on Sindys head. There was a pair of the green lens sunglasses and white kitten heel two-strap backless sandals to complete the outfit.

The ribbon ties on the dress have not been untied for many, many years and understandably the owner does not wish to undo them, but they hope that this picture together with the description will give all Sindy collectors a greater understanding of this wonderful and rare outfit.

It would be a lovely gesture for collectors to show their appreciation of this wonderful, almost mythical outfit. If you would like to, please leave a message for the owner in the Museum Guestbook where they will be able to read first-hand your own thanks for their enormous generosity.

A floral print PVC mac with a solid white vinyl collar with notched lapels, cuffs and tie belt. There was a matching souwester style hat made of the same floral PVC with a solid white vinyl brim. The pattern on the PVC was beautiful, it had a deep purple/blue background with gold and yellow daisy like flowers with pink centres and pink roses.

The first photo above shows the coat with an original belt. The inset photo above shows the souwester hat (on a dark background so you can see the brim properly). The photo on the left shows the coat and hat together with a reproduction belt.

She was given white plastic calf-length ankle boots to keep her feet dry.

We have not seen this but from other accounts it was an assortment of hats in various styles. Some accounts say there were four hats and others say five. Francis Baird in British Teenage Dolls 1956 1984 describes five hats assmart, straw, sun, pillbox and knittedhowever Colette Mansell in The History of Sindy lists four asa large brimmed hat in electric blue, a red fez style trimmed with a white band and bow, a white hat with an upturned brim with blue flowers and finally an orange pixie style hat with a high crown. We would be pleased to hear from anyone who has any of the originals which they would be happy to show here (duly acknowledged of course).

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