Hobby Misogyny

What do you see and remember at events? At every event I go to, I see a range of impressions, or historic expressions.

unknown artist, 18th century, The Encampment in the Museum Garden, 1783, Aquatint, hand-colored, Yale Center for British Art, Paul Mellon Collection
unknown artist, 18th century, The Encampment in the Museum Garden, 1783, Aquatint, hand-colored, Yale Center for British Art, Paul Mellon Collection

There are Good things: a chintz bedgown that’s actually becoming; a checked suit I wish the kid would wear; the Ugly Dog Coat Mr S wants, the umbrella I want to make just for its lines.

The Bad and the Ugly are present, too.

Drawstring shift necks, makeup, infernal bodices, Birkenstocks, sofa-size prints… “light” troops with dining flies, tables, and tin roasters. Stores tents packed with plastic packaging. White “trews” baggy as painters pants, breeches reaching below the knee, haversacks as man-purses, tube socks, sneakers, peacock feathers on women’s hats, girls with undressed hair and no caps.

What is the meaning of these bodices and tube socks: are they the disease, or a symptom? I think they’re a symptom, telling us about a deeper problem.

If “authenticity” is a journey and not a destination, everyone starts this journey at a different point, and some people are more sophisticated consumers of knowledge than others. Hard as it is to fathom, some people—even with decades of time in this— don’t know any better. I’ve encountered half-correctly dressed wives of men who’ve been to Battle Road who didn’t even know workshops are available to help them with stays and gowns. The ignorance is not always willful, even if it seems that way.

Why are some women such a mish-mash of reasonably accurate jacket with acceptable petticoat worn without stays, a drawstring shift, an OK cap, modern glasses, and a purse?

Paul Sandby RA, 1731–1809, British, Washerwomen, between 1790 and 1805, Graphite and brown wash on moderately thick, cream, rough laid paper, Yale Center for British Art, Paul Mellon Collection
Paul Sandby RA, 1731–1809, British, Washerwomen, between 1790 and 1805, Graphite and brown wash on moderately thick, cream, rough laid paper, Yale Center for British Art, Paul Mellon Collection

Do they not see the return on investment for stays and a gown and shoes and a cap and glasses and no makeup? Perhaps they don’t feel pretty when they venture out of their normal realm, and they’re only visiting, anyway. Is this the reason for the half-baked costume approach?

Or could it be that the unit commanders have set no standards for the women? That they don’t consider the women to really be unit members? Or that the women don’t consider themselves members? That they don’t matter the way the muskets do?

Could some women’s lack of authenticity—and by “authenticity” here I mean “period appropriate clothing”—be rooted in the phallocentric/musket-centric culture of the hobby? In some units, men and women seem to engage in parallel play, like toddlers, where the men field in the foreground, and the women cook in the background (women on the field is an issue I will not take up here). The men are in charge, making the decisions: the women, and what they wear, appear not to matter, and are nearly invisible. I think this is rooted in basic misogyny and the riptide of the hobby’s boys-club attitude.

If misogyny is part of why women perpetuate inauthentic impressions, then having women invested in their units and roles, with more research and more care, might be threatening to men who want weekends for themselves and their ‘war games.’ But I believe that without a significant investment by women, and by units in women’s roles, this hobby won’t survive, and it’ll be a lot less fun and educational for everyone.

That means, of course, that I think units will have to allow women a voice, and develop standards for women as well as men. Those units with the farthest to “travel,” authenticity-wise, will need to build up stores of wearable, authentic women’s clothing to loan, or include women’s workshops in their schedules. If they don’t want women and/or families participating, then that has to be clear, too, and women who do want to participate will have create their own civilian units. (I don’t have solutions for all of these issues.)

attributed to Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–1745), Matrimonial Fisticuffs, with a Portrait of the Pugilist John Broughton, in the Background, undated, Watercolor, pen and black ink and graphite on medium, slightly textured, beige laid paper, Yale Center for British Art, Paul Mellon Collection
attributed to Hubert-François Gravelot, 1699–1773, French, active in Britain (1733–1745), Matrimonial Fisticuffs, with a Portrait of the Pugilist John Broughton, in the Background, undated, Watercolor, pen and black ink and graphite on medium, slightly textured, beige laid paper, Yale Center for British Art, Paul Mellon Collection

When the men around them don’t value or encourage their participation, and when units do not have men and women as equal members with clear standards for both, I think you end up with poor impressions—particularly women—and camps full of crap. These are symptoms of a larger problem of misogyny and silence.

Anthony Highmore, 1719–1799, British, Group of Three Ladies, undated, Watercolor, pen and brown ink, and graphite on medium, blued white, moderately textured laid paper, Yale Center for British Art, Paul Mellon Collection
Anthony Highmore, 1719–1799, British, Group of Three Ladies, undated, Watercolor, pen and brown ink, and graphite on medium, blued white, moderately textured laid paper, Yale Center for British Art, Paul Mellon Collection

In recent years there have been calls for greater attention to standards for women by unit commanders. But I think that we should go further, and call for greater participation of women in real leadership roles in the hobby. That’s when you will see real change, not just in clothing, but in presentations.

And that is where I think the future of this hobby lies: in recognizing that living history events are mobile museums, not just mobile monuments.

To get more complete, inclusive and, I think, authentic, experiences will take more inclusive leadership structures, from unit memberships to the boards of umbrella organizations. That would be one small step towards bringing leadership and management into line with the modern world and current best practices in management for cultural and historic organizations. Because that is what the umbrella organizations have become. The boys’ historic shooting clubs have grown up, and it’s time to let the girls play for real, and to value women’s roles past and present.

Rumours of Bore

Detail, The Letter. Pietro Longhi, 1746. Metropolitan Museum of Art, 14.32.1
Detail, The Letter. Pietro Longhi, 1746. Metropolitan Museum of Art, 14.32.1

My time-travel was cut short this weekend after a trip to eight-nine-teen-something in Salem, as I had a trip to the Central Fly Over* for work instead. Still, through the magic of telephony and the interwebs, I heard about the Sunday OSV Experience and the Great Drawn Sabre of Saturday. (Caution: Strong language) One presumes and hopes that aside from whatever disciplinary action OSV will take– and they will–the CL commanders will address this clear safety violation.

The news photos show the usual collection of baggy menswear (are those painters’ pants? is this 1812?) and the Bodice of Myth and Legend (St. Pauli, anyone?) along with obligatory musket firing and “gotcha” shots of fallen soldiers sneaking peeks at the action. I don’t even have to say what we all think when we see those images.

But the Sunday report that struck me the most was this: The tactical went on for 45 minutes, very few soldiers fell, and the public began to leave before it was over. Got that? They got bored. As the teller of this tale said, The magic is gone. You can consider that a public endorsement of either more civilian events or a re-imagined tactical. I prefer the former, you may prefer the latter. But either way, if you’re going to use The Public as your justification for playing armed dress up on a hot day, you’d better engage that public. What that could mean will have to wait for another time, but when people head for the exits, the show won’t last.

* More on that later

Afternoon in Cambridge

Cambridge. We’ve been there before to cause some mild lawn-based havoc and this year was much the same. We were on our own on the lower level, with just the six-plus-me of some abbreviated form of Soper’s company. Longfellow House is a very lovely site, and the lawn is large enough for a wall tent, drilling, eating, and general mischief.

Longfellow House, Cambridge. Photo from @longnps on Instagram
Longfellow House, Cambridge. Photo from @longnps on Instagram

I packed our lunch in a series of linen bags in the wallet, and stuffed a gown skirt and sewing box in the other end, with a bowl and a mug. I brought the small pitcher and a glass, with the intent of selling ‘gin’ to the militia, but had only one taker. They got into enough trouble themselves with filthy faces, pilfering, and stealing the captain’s books.

unknown artist, 18th century, The Encampment in the Museum Garden, 1783, Aquatint, hand-colored, Yale Center for British Art, Paul Mellon Collection
unknown artist, 18th century, The Encampment in the Museum Garden, 1783, Aquatint, hand-colored, Yale Center for British Art, Paul Mellon Collection

It’s no immersion event, what with traffic on the street and tourists dressing in Mr Townsend’s best* but there are moments at any gathering when you become so engrossed in what you are doing that you forget where you are. This time was no different: I don’t recall how it started, but we took off down Brattle Street with Sergeant Cooke crossing the yard in hot pursuit– only to be stopped by the wall. He turned the stone barricade into a large and angry goose, neaatly solving solving the problem of not being able to scale the wall.

James Sowerby, 1756–1822, A Goose, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection
James Sowerby, 1756–1822, A Goose, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection

I don’t think I’ve ever bolted that fast in stays before, and it wasn’t the best idea I’ve ever had, but who cares? It can be done, running in stays, at least for short bursts.

There was much discussion of the filth of the troops, and their need to bathe; despite our best efforts, we could not quite get a satisfactory rise out of the officers, though some soldiers had clearly rolled in dirt. (It’s of a much better quality in Cambridge, you know, where you can wear the Harvard Yard.) There was an attempt at bathing at the Great Bridge, but in the end, one private’s face was washed with an apron corner dipped in ‘gin.’

Benjamin West, 1738–1820, American, active in Britain (from 1763), The Bathing Place at Ramsgate, ca. 1788, Oil on canvas, Yale Center for British Art, Paul Mellon Collection
Benjamin West, 1738–1820, American, active in Britain (from 1763), The Bathing Place at Ramsgate, ca. 1788, Oil on canvas, Yale Center for British Art, Paul Mellon Collection

Satisfying all around, really, from the recitation of Mr Pickering’s manual with its endless repetition of ‘butt,’ meaning musket, entertaining the simpler, uncivil soldiers, to the meal of bread, cheese and cherries, to the chasing. The audience was small, but well entertained if they were paying any attention.

*Oh, NPS, what were you thinking?

Mind the Gap, or, The Basket Case

I was in the midst of planning yet another maid’s dress (some of us have all the luck) when a friend alerted me to an online discussion that drew from my recent post on baskets. The comments — which I skimmed but twice– made me think about philosophy and intent.

Engraved by John Raphael Smith, 1752–1812, British, A Lady and Her Children Relieving a Cottager, 1784, Mezzotint and line engraving on medium, slightly textured, cream laid paper, Yale Center for British Art, Paul Mellon Collection
Engraved by John Raphael Smith, 1752–1812, British, A Lady and Her Children Relieving a Cottager, 1784, Mezzotint and line engraving on medium, slightly textured, cream laid paper, Yale Center for British Art, Paul Mellon Collection

There are two approaches to developing a living history persona and appearance I’ll consider here: one prescriptive, and one not. The prescriptive, didactic approach tells you what to wear and carry. Some folks like that. It is completely correct in some cases: soldiers, for example. You want to fall in with a unit of Light Infantry in 1777, it’s generally more convincing if you don’t wear the 1781 coat. Not everyone cares: some people will keep on wearing the Brighty Whitey Hunting Frocks and 1780 coats at reenactments commemorating events of 1776. Those folks can no longer be reached by prescriptive standards, and my preferred approach probably won’t reach them either.

Joshua Cristall, 1768–1847, British, Young Woodcutter, 1818, Watercolor with scraping over graphite on moderately thick, slightly textured, beige wove paper, laid on thick, slightly textured, beige card, Yale Center for British Art, Paul Mellon Collection
Joshua Cristall, 1768–1847, British, Young Woodcutter, 1818, Watercolor with scraping over graphite on moderately thick, slightly textured, beige wove paper, laid on thick, slightly textured, beige card, Yale Center for British Art, Paul Mellon Collection

Mindful reenacting or living history sounds pretty nutty, but that’s what I would encourage. Thoughtfulness. Consideration. Not just the what, but the why. Why you wear or carry something can be as important and interesting as what you’re wearing and you’ll be all the more convincing for thinking it through. Thinking, not rationalizing. How appropriate is it to be in your best clothes carrying a basket also used to carry fire wood? You have to answer that for yourself, and if you’re doing it right, the answer will not always be the same– nor will the question!

Print made by James Bretherton, ca. 1730–1806, British, A Maid, 1774, Etching on moderately thick, rough, blued white laid paper, Yale Center for British Art, Paul Mellon Collection
Print made by James Bretherton, ca. 1730–1806, British, A Maid, 1774, Etching on moderately thick, rough, blued white laid paper, Yale Center for British Art, Paul Mellon Collection

This isn’t the easiest way to go about anything, asking all these questions, but for some of us, the experiences make it worthwhile. You won’t always be able to do, carry, or wear what you want.* But the picture you create of the past will be more accurate and more engaging if you think more and justify less.

Look, I threw down about that floppy bird basket, but I have to provide food to troops this Saturday in Cambridge. What the heck will I carry it in? What will I take my sewing in?**

Probably a wallet and a bag, unless I can pack that floppy basket convincingly– it is entirely suitable to my lower sorts-stained gown impression– but if I can’t, I won’t take it. And that’s just one less thing to carry.

*I’m pretty much always the maid to make scenarios work, and while it doesn’t come naturally, art imitates life.

**Prays no one gets the bright idea to bring (shhh) tents to work on.