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The tweet spread quickly – 21.5k retweets, 173.5k likes. Some responded with photos of their younger selves in Jane Asher costumes made by their parents; hazy snapshots of bespectacled children posing awkwardly as pot plants or Christmas trees. (The book was reprinted five times year on year after its initial publication in the ’80s.) Others began to spot familiar faces amongst the costume models. “Is that Martin Shaw?” asked one person of Sandwich Man (yes). Another identified Joanna Lumley as a Knickerbocker Glory, wrapped in layers of coloured toilet paper. Elsewhere, a mini Emilia Fox, then about eight or nine, appears as a tortoise with a shell made from corrugated cardboard. Some Twitter users directed attention to another of Asher’s successful publications, Jane Asher’s Party Cakes, which offers advice on constructing cakes in the shape of the kitchen sink or a plate of spaghetti, from which, when I was a child, my mother would note down instructions at our local library.
“It made me miss costume parties; I would love to have a social gathering,” Pleskova says of her acquisition. “I hope we have a moment of flagrant unbridled joy and pleasure.” Such a notion has a precedent: “After times of wartime or strife or pandemics in the past, there has always been a move; the Roaring ’20s, disco in the ’70s,” she adds. “I hope we have a version of that. I am ready to wear some…
