日本家政学会誌 Conceptualizing RidingVol. 66 HabitsNo. 12 603～614（2015）in the Late Victorian and Edwardian Periods: The Emergence of Middle-class Horsewomanship in Britain

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Conceptualizing Riding Habits in the Late Victorian and Edwardian Periods: The Emergence of Middle-class Horsewomanship in Britain

Taeko SAKAI1*

This essay explores how riding habits became a symbol of Englishwomanhood roughly between the 1870s and the early 1920s in Britain. During this period, as riding became popular among affluent middle-class people, riding habits came to be distinctively associated with Englishwomen and their personality. I will first provide evidence that riding from the 1870s onwards had been peculiarly transformed into an occasion of self-regulating middle-class women, while offering them a new respectable form of pastime. Then, in the second part of the essay, I will explain how the modernization of the riding industry shifted the ethos of riding (horsewomanship) toward middle-class taste and lifestyle, which played a key role in transforming riding into a recognizable sign of “English” womanhood.

Key words：, Middle Class, Urban Lifestyle, Victorian England, Modernization

the i mportant social segment which benefitted the most 1. Introduction from contemporary social changes, and through such This essay explores how the riding habit became an experiences shaped the ideals of Englishness4), the image emblem of English womanhood between the 1870s and of their riding habit and the dynamism to develop it into the early 1920s. As riding became popular among the their own symbolic will be pursued. The materials affluent middle class during this period, the riding habit to be examined are contemporary essays, novels, came to be strongly associated with English womanhood journals and equitation manuals. In examining them, the and its characteristics. In the first part of this essay, I essay will show how the knowledge about the etiquette provide evidence that starting i n the 1870s riding became of riding were disseminated to middle-class novices, a means of self-regulating middle-class women, and and how the arguments of improving riding habits in an offered them a new respectable pastime. In the second urban environment created middle-class riding habits that part, I demonstrate that during modernization, middle- became the symbol of the English woman. class tastes and lifestyles transformed the ethos of riding 2. Riding as a Fashionable Pastime for Middle- (horsewomanship) and played a key role in shaping class Novices the riding habit into a recognizable symbol of English womanhood. It is true that riding had long been a major means Many researchers have studied the style of the riding of transportation and an elite pastime. It has also been habit, its history1) and its gender implications2). But suggested that the riding habit started to b e seen as a as Alison Matthews David succinctly states, “existing particularly English garment for fashionable women in studies are more concerned with changes in material the early eighteenth century5). In the last quarter of the and structure than historical context”3), they seldom nineteenth century, however, English middle-class novices have discussed how a woman’s riding and her habit were increasingly became the focus of public attention. In 1874, conceptualized. In this essay, by focusing on affluent Hippolyte Taine, a French thinker, critic and historian, middle classes in the Victorian and Edwardian periods, acknowledged in his essay, Notes on England, that English

Affiliation: 1Faculty of Integrated Arts and Sciences, Japan Women’s University Received May 27, 2015 Accepted September 3, 2015 * To whom correspondence should be addressed E-mail：[email protected]

Copyright © 2015 The Japan Society of Home Economics （603） 1 日本家政学会誌 Vol. 66 No. 12 （2015） travelling dress and riding habits were“ [t]wo exceptions＂ white throat, and the curves of her cheek and chin were for his criticism: always set off to perfection by the compact simplicity of her riding dress. He could not conceive a more perfect As a general rule, ought to imagine the body, girl…11). and here it nearly always does so badly. Two exceptions are the riding dress, the black habit which fits the Although Gwendolen is a frivolous girl, ＂the compact shape, which is simple, devoid of ornament, and exhibits simplicity for her riding dress＂ in this equestrian scene hardihood, strength, physical health; the travelling signals her to be a competent horsewoman and master of dress, the little straw with a single ribbon, the both style and equitation. plain , the small of solid leather, everything These writers demonstrate that the practical riding habit showing the good walker, without trace of coquetry, confers the polished beauty to individual women, while the capable of ascending with her husband the of a simple elegance of the habit is understood to represent a diligence, of being a man＇s real companion, and not a common characteristic of Englishwomen. The emphasis is delicate troublesome doll. With the exception of these on the riding habit＇s plainness both in design and materials, two , their showy and overdone style of dress and on its practicality. Therefore, habits are likely tailor- is that of a lorette or an upstart…6) made. In Lady Barberina, Henry James explicitly describes the habit as women＇s ＂firm, tailor-made armour＂. Although Although Taine does not describe in what way non- women began wearing men＇s as a part of their English women (most likely French women) and their riding habits in the late seventeenth century12) (therefore, are better than their English counterparts, from the riding habit was made by tailors, not dressmakers), and the quotation above he seems to think that English taste in Blackman argues that“ [b]y the early 1700[s], the riding style and color combinations are hideous (＂their habit was already well established as an essential element showy and overdone style of dress is that of a lorette or an of the fashionable woman＇s ＂13), the habits studied upstart＂)7). In contrast, he clearly appreciates the plainness here have significant differences from those worn in the and practicality of the English riding habit and travelling previous centuries. Although the women described are dress. He links them to such merits as the physical relatively affluent, they are not members of the upper class, strength of the English woman who ＂exhibits hardihood, and their well-made habits are not exclusively identified strength, physical health＂, and her moral superiority in the with high fashion. ability to ＂ascend with her husband the top of a diligence, These points are clearly demonstrated in the of being a man＇s real companion＂. Interestingly, what Taine contemporary equitation manuals. In the mid and late appreciates as the merit of English dress is essentially the Victorian periods, handbooks for female riders proliferated. sartorial virtues which English middle classes aspired in Although equitation manuals for men had been published their own dresses8). before14), it was not until the 1850s onwards that the genre Taine＇s exaltation of the English woman＇s plain tight- was widely cultivated by ＂professional horsewomen＂15). fitting habit is shared with Henry James, an American Similar to conduct books, these manuals were aimed at author. He similarly portrays young Englishwomen in inculcating middle-class women in upper-class decorum, ＂their tight-fitting habits＂9) in Lady Barberina (1884), and as well as disseminating the basics of the equestrian. The ＂a young girl… perfectly mounted and equipped＂10) in A Barb and the Bridle (1874) was a typical handbook for such Passionate Pilgrim (1875) as extremely attractive to the purposes, although its author was male. According to the foreigners, and as a special feature of England. George author, increasing numbers of middle-class women had Eliot, an English authoress, also describes a young female become interested in riding within the past twenty years: character in the habit: Nor is riding confined to those only whose names figure …the groom was dismissed, and the two [Gwendoren in the pages of ＂Burke＂ or ＂Debrett.＂ Within the last and Rex] rode away in delightful freedom. Gwendolen twenty years the wives and daughters of professional was in her highest spirits, and Rex thought that she men and wealthy tradesmen, who were content formerly had never looked so lovely before; her figure, her long to take an airing in a carriage, have taken to riding

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on horseback. And they are quite right. It is not (with traditionally been monopolized by country gentlemen and management) a bit more expensive, while it is beyond aristocratic ladies. This shift reflects later contemporary comparison the most agreeable and salubrious mode of social transformations; the boundaries between the social inhaling the breeze16). classes and the genders became increasingly blurred, as members of the middle classes improved their standard The merits of riding were maintaining the health and of living, and middle-class women also became aware of keeping the body fit. Most riders who had the means their potentialities. However, the evidence indicates that for the experience but not names in the almanacs of for many middle-class women, learning the elegance and peerage, also had the ambition to ride on the Rotten Row, decency of riding was difficult. Cartoons in Punch regularly in London＇s Hyde Park. Since the beginning of Queen mocked middle-class novices in the Row who were either Victoria＇s reign, ＂a ride in the Row＂ had been a privileged ignorant of etiquette, or needed basic practice24). activity for leisured class17). Considerable numbers of Unlike fashion magazines, the handbooks for female riding schools were close to the Park18), along with riders did not detail the styles of women＇s outfits, but their photographic chambers to capture riders in the Row19). fit, quality and simplicity. W. A. Kerr in Riding for Ladies Some writers of riding manuals also argued that riding (1891) writes that a ＂[a] perfect fitting habit, though not was an accomplishment, while others emphasized moral quite ＇a joy for ever,＇ is a very useful, long-wearing, and improvement. Lady Greville in Ladies in the Field (1894) altogether desirable garment＂; ＂everything [ought] to notes that ＂[r]iding improves the temper, the spirits and be in good taste, ought to be of the very best, without the appetite; black shadows and morbid fancies disappear one inch of superfluous material—severely simple＂25). from the mental horizon＂20). Handbooks for female riders Mrs. Power O＇Donoghue in Ladies on Horseback (1889) customarily devoted at least a few pages to reiterating the similarly states that the ＂should be made tight and morality of riding. How to choose a horse, trainer, habit spare, without one inch of superfluous cloth; close- and physical exercises to improve the rider＇s suppleness fitting, but sufficiently easy to avoid even the suspicion were then explained. Only then came practical lessons of being squeezed; sleeves perfectly tight… No braiding on riding, such as how to properly mount, dismount, nor ornamentation of any sort [ought] to appear＂26). In trot and canter. This emphasis on the decorum and the the late Victorian and Edwardian periods, female riders preliminary information indicate that riding was regarded increasingly adopted masculine clothing items: dark tailor- as an art of disciplining one＇s mind and body, through made jackets, underneath , with which equestrian (the art of guiding and governing the starched collars, stiff cuffs, ties, top , gloves and riding noble creature) was learnt. Lady Greville describes riding boots. Completing the outfit were the more feminine as the ＂art, and the grace that conceals art＂21), while Mrs. items of corsets and riding skirts whose shape constantly J. Stirling Clarke calls it ＂the fascinating and elegant changed (this topic is discussed later, in regards to science＂22) and encourages female riders to become improvements of side-saddles)27). Based on the handbooks＇ accomplished horsewomen: suggestions for the riding habit, the desired ＂look＂ was precisely what Barbara A. Schreier, dress historian, in her …to sit a horse equally well through all his pace—firmly, essay ＂Sporting Wear＂ (1989) describes: ＂one of precision, yet gently, to control his impatient curvettings; fearlessly, perfect fit, and sober elegance—qualities that men＇s tailors yet elegantly, to manage him at speed, with a hand firm, yet had been perfecting for years＂28). Women＇s riding habit did light; steadily, yet gracefully, to keep the seat; preserving not assume a crude imitation of the cut and materials, but the balance with and seeming carelessness; to have the aesthetic and practicality of men＇s riding . Elegant the animal entirely at command….23) simplicity was a marker of the elite, however difficult it might have been for middle-class novices to achieve in Mrs. Clarke＇s instructions clearly show that in addition practice. to dexterity, decency was the essential quality for female These handbooks＇ advice emerged partly from the late riding. seventeenth-century custom of borrowing items from That middle-class women who were allowed to learn men＇s clothing for women＇s riding habits and partly from the equitation marked a great challenge, as the art had the sartorial shift in late nineteenth and early twentieth

（605） ₃ 日本家政学会誌 Vol. 66 No. 12 （2015） centuries, as the practical tailor-made was increasingly ＂properly＂ and arrange them ＂gracefully＂33). These writers＇ incorporated into a wide range of female clothing29). lengthy explanations of this topic clearly indicate that In addition, I would like to propose respect for the art correct management of the habit was essential for a lady＇s of equitation as a source. This respect is an essential reputation as a skilled horsewoman: issue. If only safety and efficiency during riding were desired, both male and female riders would have been There is an easy and graceful style of holding the clad like horse-keepers—working-class male clothing. Habit whilst a lady is waiting for, or walking to, her However, equitation demanded that riders show off their gallant steed, which contrasts greatly with the many fit physiques on horseback and their knowledge of the art unbecoming modes so frequently met with. It constitutes of guiding and governing the horse. For these purposes, in itself a picture which at once distinguishes the riders imitated the outfits of country gentlemen, whose finished rider, and it should be carefully observed by all social privileges allowed them to pursue equitation and who study to become so34). whose sartorial style was believed to be the best fit for riding. Fashion was a secondary consideration for serious It can be argued that the devised riding skirts in the riders. The advice given to middle-class female riders was late nineteenth century and the beginning of the twentieth that no ＂matter how wealthy you may be, or how many century reinforced the modesty of the horsewoman, rather servants you may be entitled to keep, always look after than revealing the contradictions between sport and the these things [the riding habit] yourself＂30). Riding was feminine ideal. In contrast, during the first half of the considered discipline and so was the choice of riding habit, nineteenth century, completely covering women＇s ankles given as riding offered a new form of social display to and feet on horseback was the only concern for the tailors aspiring middle-class women. and the riders alike. Thus, some sources insist that the habit It should also be noted that the heated debate over skirt should be ＂cut long enough to flow gracefully to at whether women should ride aside (the female style of side- least 12-ins. below the feet of the wearer＂35) (Figure 1). saddle riding) or astride (cross-saddle riding) during this It does not seem to be a coincidence either that from the period became closely related to the rider＇s clothing from 1870s, the term ＇horsewoman,＇ describing a woman who the down. If a woman rode aside, she would wear a had mastered the spirit of equitation, came to be commonly skirt (over the breeches). If she ventured to ride astride, used in the handbooks and fashion magazines for the she definitely needed to wear some form of bifurcated middle classes, replacing descriptions of furious ＇amazons＇ garment as an outerwear. However, were strongly (spirited female riders) and notorious ＇pretty horse- associated with men＇s authority, and skirts with women＇s breakers＇ (＂women of outstanding riding ability but dubious submissive role in the household31). Consequently, the morals＂)36). In The Barb and the Bridle, Henderson notes wearing of a bifurcated garment by women, however the riding in the Row shows that ＂there is plenty of room rational it might be in the circumstances, was severely for improvement still, both as regards dogs, pretty horse- criticized as unfeminine. The debate is said to have continued over four decades, roughly from the 1880s to the 1920s. Schreier argues that for this long period of time, ＂women were forced to make a choice between upholding traditional gender ideas [by riding aside and wearing a skirt] and embracing a more masculine riding style and habit＂32). Looking closer, however, the circumstances women were situated were more complex. During this period, countless improvements were made to the riding skirt. The hem was designed to release from the pommel in an emergency, and the skirt to properly cover the rider＇s legs when not on horseback, an artifice to preserve feminine Fig. 1. Elegant Habit in the Middle of the Nineteenth Cen- modesty, as well as to improve safety and practicality. tury (Mrs. J. Stirling Clarke, The Ladies’ Equestrian Handbook writers also devoted pages to how to hold skirts Guide, 1859), p. 75.

₄ （606） Conceptualizing Riding Habits in the Late Victorian and Edwardian Periods: The Emergence of Middle-class Horsewomanship in Britain breakers, and tailors＂, and advises middle-class riders that needed new styles of riding habit skirts in order to sit well ＂no young lady, however accomplished a horsewoman she on the improved side-saddle. Initially, to accommodate may be, should be allowed by her friends to ride in the the right knee, ＂the primitive shaped pouch or cup in the Row unattended by a male companion, who is not only a skirt＂ was devised, followed by the ＂complicated cutting thoroughly good horseman, but accustomed to ride beside and tailoring which developed and led to the specialization a lady….＂37). J. Rimell Dunbar in Park Riding (1859) defines of many tailors as habit makers＂40). In 1875, the ＂safety＂ ＂[a]n accomplished horsewoman＂ as a woman who ＂rides skirt was introduced. With ＂a slit behind, fastened with with elegance, propriety, and a good grace, united to a hooks or press studs when dismounted, and open when on noble boldness, beautiful yet modest, which never fails to horseback,＂ the safety skirt was designed to be less likely command attention and excite admiration＂38). Through these to catch on the pommel if the rider fell41). In the 1890s, the handbooks, aspiring middle-class female riders learned even more innovative and structurally complicated ＂ horsewomanship, in which the appropriate riding habit was skirt＂ appeared. Juliana Albrecht notes that ＂[t]he apron an expression of the discipline of equitation. skirt which first appeared in the 1890s, was so named It is clear that equitation was established among affluent because it did not have a complete back. It was designed so middle-class female riders as physical training and as a that the right side of the skirt passed under the leg of the mental discipline. It is also evident that during this period seated rider, giving the appearance of a regular skirt. When the riding habit embodied the spirit of and respect for the rider dismounted, the right side was drawn across equitation. The question, then, is why the riding habit the back and buttoned to the left side＂42). Figure 2 shows acquired such strong affiliations with descriptions of the developments of the patterns. A conventional riding Englishwomen in general, as is evident in the notes and skirt, in c 1843 shows simply a long skirt (left), while a the novels quoted at the beginning of the section. Hints of devised safety skirt, in 1887 has a distinctive cut on the the causes can be found in middle-class experience of the right knee (middle), and an apron train, in c 1920 shows modernization of the riding industry during this period. the highly complicated structure (right). It is true that the apron skirt secured the safety of the rider, but risked 3. Modernization of the Riding Industry her embarrassment. When she dismounted, the rider＇s (1) Improvement of riding skirts breeches were awkwardly revealed until she buttoned up We first note that starting in the middle of the nineteenth the skirt. In the early 1900s, the divided skirt finally began century, side-saddle design underwent considerable to be worn for informal cross-saddle riding. Although it changes. The addition of the third pommel, which had was bifurcated, design ingenuities such as ＂a centre front become universal by the 1860s, made galloping and gore＂ and ＂stitched-down pleats＂ disguised the garment as jumping safer for female riders39). As increasing numbers a regular skirt43). of middle-class women became interested in riding, they Safer and more practical habit skirts were devised year

Fig. 2. Habit Patterns Left: Joseph Couts, A Practical Guide for the Tailor＇s Cutting-room, (c. ₁₈₄₃), next to p. ₁₅₇. Middle: The Tailor and Cutter Students＇ Guide to the Cutting of Ladies＇ Garments, (₁₈₈₇), Plate ₄. Right: W. D. F. Vincent, The Cutters＇ Practical Guide to Ladies＇ Tailoring, (c ₁₉₂₀), p. ₂₆.

（607） ₅ 日本家政学会誌 Vol. 66 No. 12 （2015） by year, yet older versions continued to be used alongside year, he and Kerr secured a patent for it under the name of new ones, depending on the venue and the purpose of ＂Twin Zenith＂. According to their advertisement, ＂[w]hile riding. The Cutters＇ Practical Guide to Ladies＇ Tailoring (c in the saddle it [Twin Zenith] has the appearance of an 1920) testifies that ＂to-day there are four distinct kinds of ordinary habit [skirt]: on dismounting, the adjustment riding trains supplied＂: of a single button removes all possibility of unsightliness 1. The close-fitting train, mostly used for riding in with its attendant discomfort＂48) (Figure 3). Similarly, the the Park, as it offers decidedly the most becoming Ladies＇ Gazette of Fashion (1882 vol. 2) singles out for appearance when the lady is off the horse. praise Messrs. Benjamin & Sons, Conduit Street, London, 2. The safety train with [a] hole for [the] pommel of whose latest innovation was ＂a tab underneath the back saddle in the underside. of the jacket, and a loop at the side seam by which means 3. The apron skirt, which has more or less of the under- the habit skirt was shortened to enable the wearer to walk part of the skirt cut away, and consequently, is not comfortably＂49). Messrs. Benjamin & Sons were reputed the most becoming garment when the lady is on the to cut riding habits ＂upon very scientific principles＂50). The ground, though it is a very safe pattern for wear in Queen equally enthusiastically reports on the shop＇s minor the hunting-field. inventions, such as the ＂elastic cloth habit＂ for park riding 4. The ride-astride skirt, which is rapidly growing in and a riding jacket with hip and breast pockets51). The popularity for hunting purposes44). advertisement sections present all imaginable equipment This categorization indicated that the horsewoman had for female riders as genuinely new, highly innovative to attend to her feminine appearance (＂becoming＂) during and convenient: ＂Patent Safety Foot Strap,＂ ＂The New park riding (in Rotten Row), whereas safety was primarily Ladies＇ Covert and Registered Apron＂ (Figure 4) and important in the hunting-field. The knowledge and ＂Cramp＇s Patent Suspender, For Riding＂. ＂The techniques that tailors were expected to have also became New Ladies＇ and Registered Apron＂ was not an diversified. Tailors＇ manuals increasingly emphasized apron skirt, but was designed to wear over the habit in bad the need to systematically understand the complicated weathers. Its caption claims that ＂[t]he Apron fits closely structure of the habit, and to improve the existing models over the knee＂ so that the rain will not run into the habit, with tailors＇ own ingenuity. The Tailor and Cutter Students＇ “[w]hen not in use, ＂it can be cleverly ＂pack[ed] up into a Guide to the Cutting of Ladies＇ Garments (1887), which small case for attachment to the saddle＂52). deals with the safety skirt (Figure 2 middle), has ＂Plates These products were essentially the outcomes show how each garment may be cut by the same system of Victorian ingenuity: the serious consideration of or foundation＂45). In contrast, a handbook for tailors practicality, technological developments and their published in c 1843 states that ＂In this department of the tailor＇s craft, it is necessary that the artisan should have a thorough knowledge of cutting, and also be possessed of an elegant and refined taste＂46), suggesting that individual tailors＇ experience and liking were more important. This handbook instructed tailors in making the conventional close-fitting train (Figure 2 left). Fashion magazines and the handbooks for middle-class female riders also encouraged ladies＇ tailors to initiate changes and innovations themselves. In Riding for Ladies (1891), W. A. Kerr strongly recommends the ＂Zenith skirt＂, a ＂clever and smart combination of skirt and trousers,＂ devised by Mr. W. Shingleton of 60 New Bond St., London for ＂its absolute safety＂ and its appearance that neither ＂offend[ed] the most sensitive equestrienne＂ nor ＂hurt the proper feelings of the most modest＂47). Shingleton further refined the structure of this skirt, and in the following Fig. 3. Twin Zenith (The Lady’s Dressing-Room, 1892), p. 381.

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Fig. 5. Advertisement for Redfern’s Riding Habits (The Queen, Jan. 5,1884), n.p.

Redfern riding habit (Figure 5). Fig. 4. Advertisements (The Queen, June 28, 1884), n.p. As an increasing number of shops offered riding habits, price became important, too. In advertisement sections, we find H. J. Nicoll of Regent Street selling ＂Spécialité applications for products, which were chiefly promoted by Five Guinea Riding Habits＂, Benjamin & Sons pricing the members of the middle classes53). It was in this period ＂Ladies＇ Habits＂ from three pounds ten shillings to seven that John Redfern, a leading ladies＇ tailor, joined the riding guineas, and Capper, Son, & Co.＇s ＂Ladies＇ & Children＇s habit industry and contributed to refining riding outfits. Riding Habits＂, offering ＂Serges in Black and Blue from Starting work in Cowes on the Isle of Wight in 1847, £2 2s. Meltons and Venetians in Black, Blue, Olive, Myrtle, Redfern gained a reputation for making fashionable tailor- and al New Colours, 65 s. to £ 7 7s.＂57). Capper, Son, & made suits for outdoor sports, such as tennis, archery, Co. mainly focused on the trousseaux, but expanded its yachting, hunting, shooting and golf. During the 1870s and business to riding habits. In advertisements, the company 1880s, members of royal families in England and other stresses its skill and quality, to indicate that its riding European countries patronized his outdoor clothing. In habits are reasonably priced: ＂Care has been taken to addition, his stylish, practical and versatile tailor-made suits select such cloths [for saddle wear] only as C., S., & Co. were quickly copied by popular drapers and department can confidently recommended. The garments are cut on stores. Consequently, cheaper versions of Redfern the Premises, and made by their own skilled workmen. garments became ＂the universal daywear for all but the Fit and style guaranteed＂. Approximately a hundred poorest women＂54). When Redfern opened a London years earlier, in 1778, the bill for a complete riding habit branch at Conduit Street in 1878, he expanded his sporting issued by a London tailor was £11 13 s. 3 d. Although the clothes business to riding habits. The London branch bill included the making, linings and cloth, these habits was his first venture outside Cowes, and its opening in were far more expensive than those advertised in the the metropolis was clearly important for marketing the late Victorian period. As riding habit businesses became brand. As Susan North, a curator at the Victoria and Albert increasingly commercialized, the functional solidity of Museum, found, Redfern hired two London-trained cutters riding habits combined with understated superb detailing and fitters for this branch. He advertised in The Queen which once had been a hallmark of aristocratic heritage, (8 June, 1878) that ＂[p]articular attention will be devoted became popularized (Figure 6). Arguably, middle-class in the London Branch to the production of Ladies＇ Riding riders with a means and spare time most benefitted from Habits. Special cutters being engaged for this purpose＂55). these improvements. Similar to popular retailers, Redfern also devoted efforts to making innovative habits. The Queen reports that Redfern (2) A leisure activity for the urban middle classes ＂has just introduced a new and most comfortable way of The mercantilism of city life is undeniably present in cutting the habit over the pommel knee, which insures its the articles and advertisements examined in the previous setting well, preventing its riding up＂56). Redfern featured section. It might seem that such mercantilism would this praise in an 1884 advertisement as a testimonial to the conflict with the traditional romantic ideals of riding— safety of his habits, while the accompanying illustration the countryside scene, a healthy active lifestyle, and of a stylish horsewoman on Park riding demonstrates aspirations to a life of leisure. However, neither fashionable that practicality and elegance can go hand in hand with a ladies＇ tailors nor popular shops found such potential

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Fig. 6. Advertisements for Redfern’s Riding habits and those for Burgess. The differences between high-end stores and popular retailers are no longer evident. (The Queen, Jun. 28, 1884), n.p. Ladies Gazette of Fashion (1886 vol. 1), n.p. contradictions problematic. Instead, they presented their of regular Melton, as she was so advised by the tailor. products as practical fashion commodities, intended However, she soon found that the habit skirt was made of for urban, fashion-conscious middle classes, while such a flimsy material that it flapped ＂like a sheet in the retaining some characteristics of aristocratic pastimes. wind＂ and the coat gained ＂unsightly＂ perspiration marks. In the advertisement section of The Queen, Redfern She had to hand it over to her ayah as a gift, which ＂she emphasizes the Royal warrant to advertise his garments. did not appreciate at anything approaching its cost＂63). On the same page, Doré at Hanover Square stresses the Mrs. Hayes declares that Creed＇s notion that ＂my thick practicality, quality and fashionability of its products: ＂A Melton skirt would be of no use to me in hot country＂ new Cloth, made by one of our leading West of England turned out to be unfounded. Despite, finding this particular manufacturers, is strongly recommended for these most investment ＂a failure,＂ Mrs. Hayes continued to patronize particular garments. It is dyed in all the latest fashionable ladies＇ tailors in London, and even recommends middle- shades, and is made in two substances to suit the seasons.＂ class riders Messrs. Tautz and Sons, of Oxford Street, as Even popular shops such as Samuel Brothers at Ludgate- they ＂solved the difficulty by providing us with a competent hill, London, whose business was based on the ＂sweated female fitter＂64). system＂58), advertised riding habits, on the same page. In addition, the development of railways, the hallmark All these shops were London based59), and regularly of the modernization of the period, which promoted the advertised in the fashion magazines which disseminated urbanization, did not diminish the use of horses, but to the the latest from the metropolis nationwide. contrary, increased the demand65). Horse riding benefitted As riding became a leisure activity for urban middle as city dwellers used railways to travel to resort spots at classes, fashion magazines focused on advice and home and abroad, where they enjoyed riding. The editor of information related to Park riding, such as the proper The Queen advises readers what to do in Spa, a resort spa etiquette, fashionable habits and riding schools nearby60). town in Eastern Belgium, ＂The amusements are riding— Rotten Row also became a subject of comic songs61), there are capital horses to be hired for the purpose— evidencing the popularity of the riding in central London. beautiful walks and drives…66). The Travellers＇ Journal The handbooks for female riders strongly advised those and Hotel Gazette (1880) carries an advertisement of a who planned to visit the colonies, India and Africa to riding school in Brighton, ＂Du Pont, Riding Academy and procure riding outfits in England, before they departed62). Livery Stables＂67). Brighton became a popular destination In particular, the handbook writers recommended London- for seaside holidays after 1841 when the London & based habit makers for their quality and innovative Brighton Railway—later the London, Brighton & South designs. However, not even the first-class habit makers Coast Railway—made a day trip from London possible68). in the metropolis necessarily could meet demands. In The Travellers＇ Journal and Hotel Gazette (1880) also The Horsewoman, Mrs. Hayes notes that during her testifies that ＂THIS is peculiarly the age of travel, and preparations to leave for India in 1885, she paid 16 the period of exploration＂, as railway travel was speedy guineas to Creed of Conduit Street, ＂the best habit maker and reasonable69). A special was even devised in London＂, a habit of ＂khaki-coloured drill＂, instead to serve the multiple needs of riding and railway travel.

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The Illustrated Sporting and Dramatic News (1896) reported that Messrs. Tautz and Sons, of Oxford Street, London designed a riding coat with four ＂serviceable＂ pockets. Along with money for ＂railway fare home,＂ a local timetable could be carried in one of those pockets, ＂for circumstances may render a ride home impossible, and knowledge of the departure of trains from the neighboring stations is not always possessed by those living in the vicinity＂70). The invention of such strongly suggests that a short trek on horseback and, if necessary, by train was a normal choice for riders. Fig. 7. Mr Montague Smyth, 22-24, Monmouth-Road, West- bourne-Terrace. W (The Queen, Feb. 10 1917), 200. Whether in the metropolis or resort spots, riding exposed middle-class female riders to the public gaze. This exposure might be why handbooks for female riders of horsewomanship. Benefitting from technological draw attention to the health and beauty effects of riding— achievements, urban effects, and the vigorous creativity ＂bright eyes, a clear complexion, and a slim figure are and ingenuity of merchants, the middle classes found their beauties never to be despised＂71). Discretion in both cultural, aesthetic and moral identities in the riding habit. demeanor and riding habit was increasingly stressed, too, In conclusion, I review the process of the transformation of because of the public gaze. The fashionable riding now, the riding habit into a symbol of the ideal Englishwoman: notably Rotten Row, attracted not only aristocratic and 1) affluent middle classes learnt the elegant etiquette of aspiring middle-class horsewomen, but also ＂pretty horse- riding and of habits from the elites, with a heavy emphasis breakers＂ who displayed their equestrian techniques and on the discipline and the manner; 2) The modernization their own charms in public72). To complicate the matter, of riding and the habits popularized the ideal of simple those pretty horse-breakers wore exquisite riding habits. elegance among middle-class riders; 3) Such ideal was For example, Catherine Walters, known as Skittles, had gradually standardized, too. All the designs were aimed a tight-fitting riding habit made by Henry Poole of Savile at improving the safety of female riders on horseback, Row73). The sartorial demarcations between respectable while maintaining their elegance off horseback; 4) As the horsewomen and pretty horse-breakers became slim. riding became a common practice among the urban middle Consequently (rather than nevertheless), moderation class, the clothes of the horsewoman became an integral was imposed on middle-class riders. The Habits of Good part of the middle-class woman＇s wardrobe, proudly Society (1859) declares that the ＂art of riding is in itself visualizing the simple elegance of the English woman. conspicuous enough…. The moment her taste degenerates As the advertisement for Montague Smyth in London so as to produce a striking effect, she may be sure testifies76) (Figure 7, also see Figure 1 as a comparison), she is making a mistake, and nowhere so fatally as on their practical, simple and elegant habits did not faintly horseback＂74). Mrs. Hayes also makes this point, ＂But not reflect the borrowed ideals from the elites any more. express＇d in fancy; rich not gaudy; For the apparel oft Instead, they became an established symbol of modern proclaims the man, And also the woman＂75). Gay colors, English womanhood. The riding habits of the period fancy ornaments and provocatively tight coats showing off conceptualized how individual Englishwomen should look the bodyline were regarded as immodest. (Skittles was in public, beyond simply forging a common style among ＂rumored to wear nothing beneath her close fitting riding middle-class women. habit.＂) While middle classes aspired to simple elegance as a manifestation of elite status, it also functioned as a REFFERENCES boundary to demarcate social outcasts. ₁) As to the style of the riding habit and its historical sig- th 4. Conclusion nificance, see the following articles: Blackman, C.-₁. ₁₈ century riding habits. Country Life. ₂₀₀₁, ₁₉₅ part ₁₈, It is clear that riding habits in the late Victorian and ₉₆-₉₉, Blackman, C.-₂. Walking Amazons: The Develop- Edwardian periods embodied middle-class adaptations ment of Riding Habit in England during the Eighteenth

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Century. Costume. ₂₀₀₁, 35, ₄₇-₅₈, Cunnington, P.; equitation for ladies. London. The Queen Office, ₁₈₇₄, ₂ Mansfield, A. English Costume for Sports and Outdoor ₁₇) Watson, J. N. P. Horse and Carriage. London. The Sports- Recreation. London. Adam & Charles Black, ₁₉₆₉, man＇s Press, ₁₉₉₀, ₃₄, Bellamy, J. Hyde Park for Horse- ₉₈-₁₃₃, Arnold, J. ＂Dashing Amazons: the development manship. London. J. A. Allen, ₁₉₇₅, ₄₅ of women＇s riding dress, c. ₁₅₀₀-₁₉₀₀.＂ Defining Dress. ₁₈) Watson, J. N. P. op. cit. ₄ Haye, Amy de la; Wilson, E. eds. Manchester, Man- ₁₉) David, A. M. op. cit. ₁₉₀ chester Univ. Pr., ₁₉₉₉, ₁₀-₂₉, The Way the Ladies Ride. ₂₀) Lady Greville. Ladies in the Field. London. Ward & History Today. ₂₀₁₂, 62 no. ₂, ₃₆-₃₉, Foster, I. The Downey, ₁₈₉₄, ₃ Development of Riding Costume c₁₈₈₀-₁₉₂₀. Costume. ₂₁) Ibid. ₅ ₁₉₆₉, 3, ₅₅-₆₀, Lee-Potter, C. in Vogue since ₂₂) Mrs. Clarke, J. S. op. cit. v ₁₉₁₀. London. Thomas and Hudson, ₁₉₈₀, ₈-₁₈. Mackay- ₂₃) Ibid. ₃ Smith, A.; Druesedow, J. R.; Ryder, T. eds. Man and the ₂₄) Koda, Y. The Fashion of Tailored Suit for Woman. The Horse. New York. The Metropolitan Museum of Art, Journal of the International Association of Costume. ₁₉₈₅, ₅₈-₉₁ ₂₀₀₂, 22, ₂₆-₂₇ ₂) As to gender and the riding habit, see the following ₂₅) Kerr, W. A. Riding for Ladies. London. George Bell & articles: Crane, D. Clothing Behavior as Non-Berbal Sons, ₁₈₉₁, 64, ₆₆ Resistance. Fashion Theory. ₁₉₉₉, 3, issue ₂, ₂₄₁-₂₆₈, ₂₆) Mrs. O＇Donoghue, P. Ladies on Horseback. London. W. Albrecht, J.; Farrell-Beck, J.; Winakor, G. Function, Fash- H. Allen & Co., ₁₈₈₉, ₄₄-₄₅ ion, and Convention in American Women＇s Riding Cos- ₂₇) Crane, D. op. cit. ₂₅₇. Schreier, B. A. ＂Sporting Wear.＂ tume ₁₈₈₀-₁₉₃₀. Dress. ₁₉₈₈, 14, ₅₆-₆₇, Kidwell, C. B.; Kidwell C. B.; Steele, V. eds. Men and Women Dressing Steele, V. eds. Men and Women Dressing the Part. the Part, ₁₀₇ Washington. Smithsonian Institute Pr., ₁₉₈₉, ₉₂-₁₅₁. ₂₈) Schreier, B. A. op. cit. ₁₀₇ Koda, Y. Women＇s Dresses for Sports in the Late Victo- ₂₉) Wilson, E.; Taylor, L. Through the Looking Glass. London. rian Period. Ph.D. Dissertation. ₂₀₁₁, Chapter ₂, section BBC Books, ₁₉₈₉, ₄₆-₄₉ ₂, ₅₈-₁₂₅ ₃₀) Mrs. O＇Donoghue, op. cit. ₅₄ ₃) David, A. M. ＂Elegant Amazons: Victorian Riding Habits ₃₁) McCrone, K. E. Sport and the Physical Emancipation of and the Fashionable Horsewoman.＂ Victorian Literature English Women ₁₈₇₀-₁₉₁₄. London. Routledge, ₁₉₈₀, ₂₂₁ and Culture. Cambridge Univ. Pr., ₂₀₀₂, ₁₈₀ ₃₂) Schreier, B. A. op. cit. ₁₀₈ ₄) Sakai, T.-₁. Middle-Class Fashion Sense in the Victorian ₃₃) Mrs. Clarke, J. S. op. cit. ₃₀-₃₁. Henderson, R. op. cit., Period: the Importance of Self-Restraint. Journal of ₂₈-₂₉, Mrs. O＇Donoghue, op. cit. ₅₁ Home Economics of Japan. ₂₀₁₄, 65, ₁₃-₂₀ ₃₄) Mrs. J. S. Clarke, op. cit. ₃₀ ₅) Blackman, C.-₁, op. cit. ₉₇ ₃₅) Vincent, W. D. F. The Cutters＇ Practical Guide to Ladies＇ ₆) Taine, H. Notes on England. London. W. Lesbister & Co., Tailoring. London. The John Williamson Company Ltd., ₁₈₇₄, ₆₈ c ₁₉₂₀, ₂₅ ₇) Sakai, T.-₂. British Sense of Colour in the Latter Half of ₃₆) Bellamy, J. op. cit. ₆₀ the Nineteenth Century: How the Middle Classes Mas- ₃₇) Henderson, R. op. cit. ₉₈ tered Their Inferior Complex to Their French Counter- ₃₈) Dunbar, J. R. Park Riding. Saunders, London. Otley, & parts. Journal of Home Economics of Japan. ₂₀₁₄, 65, Co., ₁₈₅₉, ₁₅-₁₆ ₁₅-₁₉ ₃₉) Grimshow, A. The Horse: A bibliography of British books ₈) Sakai, T.-₁, op. cit. ₁₃-₂₀ ₁₈₅₁-₁₉₇₆. London. The Library Association, ₁₉₈₂, ₁₅ ₉) James, H. Lady Barberina, e-book, ₁₈₈₄, Chap.₁ ₄₀) Cunnington P.; Mansfield, A. English Costume For Sports ₁₀) James, H. A Passionate Pilgrim, e-book, ₁₈₇₅, Chap.₁ and Outdoor Recreation. London. Adam & Charles Black, ₁₁) Eliot, G. Daniel Deronda, e-book, ₁₈₇₆, Chap. ₇ ₁₉₆₉, ₁₁₉-₁₂₀ ₁₂) Ewing, E. Everyday Dress, ₁₆₅₀-₁₉₀₀. London. B. T. ₄₁) Ibid., ₁₂₁. Mackey-Smith A. op. cit. ₆₇ Batsford, ₁₉₈₄, ₈₂ ₄₂) Albrecht, J. op. cit. ₆₂ ₁₃) Blackman, C.-₁, op. cit. ₉₆ ₄₃) Ibid ₁₄) Mrs. Clarke, J. S. The Ladies＇ Equestrian Guide. London. ₄₄) Vincent, W. D. F. op. cit. ₂₅ Day & Son, ₁₈₅₉, iv ₄₅) Davies, J. F. The Tailor and Cutter Students＇ Guide to the ₁₅) David, A. M. op. cit. ₁₈₁ Cutting of Ladies＇ Garments. London. J. Williamson, ₁₆) Henderson, R. The Barb and the Bridle: A handbook of ₁₈₈₇, preface

₁₀ （612） Conceptualizing Riding Habits in the Late Victorian and Edwardian Periods: The Emergence of Middle-class Horsewomanship in Britain

₄₆) Couts, J. A Practical Guide for the Tailor＇s Cutting-room. Riding in the Row. The Queen. ₁₇ Nov. ₁₈₈₃, ₄₈₂, Fash- London. Blackie and Son, c. ₁₈₄₃, ₁₅₃ ion in the Hunting Field. The Ladies＇ Gazette of Fashion. ₄₇) Kerr, W. A. op. cit. ₆₄-₆₆ ₁₈₈₀, ₁, n.p, Round the Shops. The Ladies＇ Gazette of ₄₈) Staffe, B. Advertisements. The Lady＇s Dressing-Room. Fashion. ₁₈₈₄, ₁, ₆₆ London. Old House Books, ₁₈₉₂, ₃₈₁ ₆₁) Millars, F. J. H. The Galloping Snob of Rotten Row. London. ₄₉) Round the Shops. The Ladies＇ Gazette of Fashion. ₁₈₈₂, ₁₈₇₃, Brown, F. H. The Snob Rotten Row Galop. London. 2, ₉₉. ₁₈₇₄, Bela, K. Rotten Row Galop. London. ₁₈₇₄, Wittenberg, ₅₀) Round the Shops. The Ladies＇ Gazette of Fashion. ₁₈₈₂, J. Rotten Row Galop for the Pianoforte. London. ₁₈₆₈ 2, ₂₀₀ ₆₂) Henderson, R. op. cit. ₁₆₀. Kerr, A. W. op. cit. ₆₈ ₅₁) Answers. The Queen. ₆ Mar. ₁₈₈₀, ₂₀₉. September Fash- ₆₃) Hayes, A. The Horsewoman. London. Hurst and Blackell, ions. The Queen. ₃₀ Sept. ₁₈₈₂, ₂₉₇ Ltd., ₁₉₀₃, ₉₂ ₅₂) Advertisements. The Queen. ₂₈ Jun. ₁₈₈₄, n.p ₆₄) Ibid. ₁₁₀ ₅₃) Sakai, T.-₂, op. cit. ₁₅-₁₉ ₆₅) Grimshaw, A. op. cit. xvi, Weightman, G.; Humphries, S. ₅₄) North, S. John Redfern and Sons, ₁₈₄₇ to ₁₈₉₂. Costume. The Making of Modern London ₁₈₁₅-₁₉₁₄. London. ₂₀₀₈, 42, ₁₄₅-₁₆₈. Other references include North, S. Sidgwick & Jackson, ₁₉₈₄, ₉₈-₁₀₀, Watson, J. N. P. op. Redfern Limited, ₁₈₉₂ to ₁₉₄₀. Costume. ₂₀₀₉, 43, cit. ₃₁ ₈₅-₁₀₈, Cole, D. J. Heritage and Innovation: Charles ₆₆) Answers. The Queen. ₁₉ Mar. ₁₈₈₁. n.p Frederick Worth, John Redfern, and the Dawn of Mod- ₆₇) Advertisements. The Travellers＇ Journal and Hotel ern Fashion. Fashion & Luxury Between Heritage & Gazette. ₂₄ Jul. ₁₈₈₀, n.p Innovation. Paris. ₁₃th Annual Conference for the Inter- ₆₈) Hannaway, J. The English Seaside in Victorian and national Foundation of Fashion Technology Institute Edwardian Times. Buckinghamshire. Shire Publications ₂₀₁₁, ₁₇₃-₁₇₉. As to Redfern＇s surviving habits, the Ltd., ₂₀₀₃, ₂₉ Victoria and Albert Museum stores an excellent habit ₆₉) Notes for Travellers. The Travellers＇ Journal and Hotel worn by Mrs. James Fraser in ₁₉₁₁ (V & A: T. ₃₃₃A-D- Gazette. ₁₃ May ₁₈₈₀, ₅ ₁₉₈₂) ₇₀) Sportswomen＇s Page. The Illustrated Sporting and Dra- ₅₅) North, S. ₂₀₀₈, op. cit., ₁₅₂, ₁₅₆ matic News. ₁₉ Dec. ₁₈₉₆, ₆₃₁ ₅₆) Advertisements. The Queen. ₁₄ Jul. ₁₈₈₃, n.p ₇₁) Lady Greville, op. cit. ₂₇. A similar advice, see Dunbar, J. ₅₇) Advertisements. The Queen. ₁₆ Feb. ₁₈₈₄, n.p, The R. op. cit. ₁₀-₁₁ Ladies＇ Gazette of Fashion. ₁₈₈₁, ₁, n,p, The Ladies＇ ₇₂) Watson, J. N. P. op. cit. ₄₂-₄₃ Gazette of Fashion. ₁₈₈₀, ₂, n.p ₇₃) Breward, C. op. cit. ₄₁ ₅₈) Breward, C.; Ehrman E.; Evans, C. The London Look. ₇₄) The Habits of Good Society. London. James Hoggs and New Haven and London. Yale Univ. Pr., ₂₀₀₄, ₅₃ Sons, ₁₈₅₉, ₁₈₆ ₅₉) Advertisements. The Queen. ₁ Jul. ₁₈₈₂, n.p. Along with ₇₅) Hayes, A. op. cit. ₁₂₅ the address in London, Redfern inscribed those in ₇₆) Advertisements. The Queen. ₁₇ Feb. ₁₉₁₇, n.p. The - Cowes and Paris tion reads, ＂I am now making my habits, as sketched, for ₆₀) Ladies on Horseback. The Queen, ₂₄ Jan. ₁₈₈₀, ₇₄, ₄ Guineas. Also in my Princess Cloth, specially prepared Answers. The Queen. ₆ Mar. ₁₈₈₀, ₂₀₉, Gazette des for Colonial wear, at ₅ Guineas.＂ Dames. The Queen. ₂₇ Jan. ₁₈₈₃, n.p, The Etiquette of

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ヴィクトリア朝後期からエドワード朝期の 女性用乗馬服にみる「イギリスらしさ」： 馬術の解放とイギリスの発展の具象として

坂井 妙子₁*

乗馬服姿の女性が「イギリスらしい」と考えられはじめたのは，₁₈世紀初頭に遡る．しかし，ヴィクトリ ア朝後期の₁₈₇₀年代以降，乗馬が比較的裕福なミドルクラスの間で人気を得るようになると，乗馬服とイギ リス人女性は比喩的にも強く結びつけられるようになり，乗馬服姿の女性はイギリス人特有の美しさ，美徳 を表現するものと考えられていく．本論では，回想録や小説，乗馬の指南書の記述から，従来，上流階級の 占有であった馬術が①ジェンダーと社会階級の両面において，ミドルクラスの女性に解放されたことを示す とともに，②乗馬服に求められた要素がイギリス人女性の身体的・精神的特質に一般化されていったことを 示す．そして，その理由を，乗馬服産業の近代化に求め，当時の女性用乗馬服は，③イギリスの技術的発展 と文化的優位の具象であったこと，さらに，④都会に住む比較的裕福なミドルクラスは改良を施された乗馬 服を自己の生活スタイルに合わせることで，自らの文化的，美的価値観を投影し，女性らしさの概念を近代 化したことを明らかにする．

キーワード：女性用乗馬服，ミドルクラス，都市文化，ヴィクトリア朝イギリス，近代化

所属機関名： 1日本女子大学人間社会学部 原稿受付：平成27年 5 月27日 原稿受理：平成27年 9 月 3 日 * To whom correspondence should be addressed E-mail：[email protected]

₁₂ （614）