We made three iterations of Henderson’s invention. A half-sized calico toile helped us work out the basics of the three-cord pulley system. The second version was a full-sized calico toile to see how it worked on the body. This larger version enabled us to appreciate the nuances of the engineering. The third was made in heavier wool – a Dashing Tweed high-vis reflective weave. It was tested out by Alice Lemkes in the “Women On The Move” film.

We were impressed by the different mechanisms for raising the skirt to different levels. A series of loops guides the cords, inside and out, ensuring easy movement of the material. A series of open hooks lower down on the skirt enables it to be lifted to different heights — the ankle, knee or higher still. This infrastructure gave the wearer many options. Lifting the side cords produces a pleasing gathered or ruched effect. The wearer could ride a step-through ladies frame bicycle, and her legs/bloomers would remain covered at the sides.

Lifting the inside cord, located in the rear centre seam, raises the skirt higher still. This mechanism clears the material from the rear wheel. This is very clever and enables the wearer to ride a diamond frame, a man’s bicycle of the period. The effect again is a pleasing ruffle of fabric at the back, not too dissimilar to a bustle. The skirt can be easily reverted back into an ordinary long garment when the cords are released.

All the cords end in tassels, which make them look decorative when wrapped around the waist. We were interested in how the convertibility of this skirt is both exposed and hidden. Henderson draws attention to the unique design while also concealing its quite radical possibilities. Overall it’s a fascinating example of steganography – hiding in plain sight.