Parenting & Family Quote by Dinah Sheridan

Nostalgia gets a lot more interesting when it comes with boning and lace. Dinah Sheridan isn’t just name-checking a costume; she’s turning underwear - the most private category of clothing - into a tiny personal museum, where fame isn’t a trophy on a shelf but something that still brushes the body. Calling those corsets a “prized relic” reframes film work as lived experience: not an abstract credit on IMDb, but an object that holds sweat, posture, discomfort, and the discipline of performance.

The line works because it collapses the distance between audience memory and actor reality. Viewers remember The Railway Children as a warm, wholesome British classic; Sheridan counters that softness with the tactile truth of period costuming. Corsets suggest constraint and control, a literal shaping of the female body to meet an era’s idea of correctness. Tucked in an “undies drawer,” the relic sits in the everyday - not in an archive, not curated by a studio, not sanctified by critics. It’s kept the way people keep love letters: private, slightly irrational, stubbornly close.

There’s also a sly reclaiming of agency. The corset, designed to restrict, becomes her chosen keepsake. The “favourite film” tag signals something deeper than professional pride: a moment when work, identity, and cultural imprint aligned. Subtextually, it’s a quiet jab at how women’s screen legacies often get flattened into roles and images; she insists on the material residue, the proof that art leaves marks - and that she gets to decide what’s worth saving.