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Middlesex University Research Repository Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Rolley, Katerina (1995) The lesbian dandy: the role of dress and appearance in the construction of lesbian identities, Britain 1918-39. Masters thesis, Middlesex University. Available from Middlesex University’s Research Repository at http://eprints.mdx.ac.uk/13467/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this thesis/research project are retained by the author and/or other copyright owners. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non- commercial, research or study without prior permission and without charge. Any use of the thesis/research project for private study or research must be properly acknowledged with reference to the work’s full bibliographic details. This thesis/research project may not be reproduced in any format or medium, or extensive quotations taken from it, or its content changed in any way, without first obtaining permission in writing from the copyright holder(s). If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. Middlesex University London " Middlesex University Research Repository: an open access repository of Middlesex University research http://eprints.mdx.ac.uk Rolley, Katerina, 1995. The lesbian dandy: the role of dress and appearance in the construction of lesbian identities, Britain 1978-39. Available from Middlesex University's Research Repository . • • Copyright: Middlesex University Research Repository makes the University's research available electronically. Copyright and moral rights to this thesis/research project are retained by the author and/or other copyright owners. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Any use of the thesis/research project for private study or research must be properly acknowledged with reference to the work's full bibliographic details. This thesis/research project may not be reproduced in any format or medium, or extensive quotations taken from it, or its content changed in any way, without first obtaining permission in writing from the copyright holder(s). If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated. THE LESBIAN DANDY THE ROLE OF DRESS AND APPEARANCE IN THE CONSTRUCTION OF LESBIAN IDENTITIES, BRITAIN 1918-39 A thesis submitted to the Council for National Academic Awards in partial fulfilment of the requirements for the degree of Master of Philosophy Katrina Rolley School of the History and Theory of Culture Middlesex University March 1995 lr'l~ ~-(-;r~>( c~ 0U/ 51 ."2)C'G -7C:(; KvC ; ',;l"r )<. C1 ( '2. THE LESBIAN DANDY: THE ROLE OF DRESS AND APPEARANCE IN THE CONSTRUCTION OF LESBIAN IDENTITIES, BRITAIN 1918-39. KATRINA ROLLEY, 1995 ABSTRACT This thesis explores the role of dress and appearance in the construction of lesbian identities by means of a detailed documentation and analysis of the sexual identities, and styles of self-presentation, of eight self­ identified lesbians living in Britain during the inter-war period. The study is concerned both to emphasise the specificity of these women's experiences, and to identify factors common to each subjective narrative, and it is suggested that these over-arching issues were potentially central to the experience of many lesbians living in Britain during the inter-war period. The source material for the investigation is intentionally diverse, and the thesis employs a methodology derived from a number of different areas of academic investigation - in particular fashion history, subcultural theory, lesbian history and lesbian theory since none of these in isolation adequately addresses the role of self­ presentation in the construction of sexual identity. The investigation focuses upon the inter-war period in Britain because although it has been widely characterised as a time of unrivalled significance in relation to the development of a 'modern' lesbian identity and subculture, this period in British lesbian history remains conspicuously under­ researched and, in addition, because the proximity of the 1920s and 1930s to the present enables the use of oral history as a counterbalance to written and visual sources, which invariably favour the famous, aristocratic and/or , creative' subj ect' . Therefore this investigation formulates a new approach to the documentation and analysis of the role of self -presentation in the construction of sUbjective identity, whilst also challenging many existing assumptions surrounding the development of a lesbian identity and subculture in Britain during the inter-war period. CONTENTS PAGE ILLUSTRATIONS 3 ACKNOWLEDGEMENTS 8 1. INTRODUCTION 9 2. DRESS AND IDENTITY 15 3. LESBIAN IDENTITY 36 4. INVERTS, PERVERTS OR INTERMEDIATE SEX? 62 5. "WHY AM I AS I AM - AND WHAT AM I?" 77 6. (RE)FASHIONING THE LESBIAN BODY 103 7. THE LESBIAN DANDY , 130 8. DIFFERENTIATING THE LESBIAN COUPLE 154 9. THE (IN)VISIBLE LESBIAN 175 10. CONCLUSION 195 ILLUSTRATIONS APPENDIX 203 REFERENCES 207 BIBLIOGRAPHY 223 2 ILLUSTRATIONS l. Painting entitled Medallion by Gluck, 1937. The painting represents Nesta Obermeer (left) and Gluck (right) and the artist privately called it ' YouWe' (Souhami 1988). 2. Photograph of Eleanor on holiday with the evening institute in the early to mid 1930s. 3. Painting of Radclyffe Hall aged five, by Mrs Katinka Amyat (Baker 1985 & Troubridge 1961) . 4. Studio photograph of Eleanor from the 1930s. 5. Punch cartoon, 1925 (Dec. 23, 1925, p.677). 6. A Photograph of Radclyffe Hall as a debutante (Baker 1985) . B Photograph of Radclyffe Hall as a young woman (Harry Ransom Humanities Research Center, University of Texas) . 7. A Photograph of Radclyffe Hall (left) and Una Troubridge at the Ladies' Kennel Club Dog Show, Ranelagh, May 1920 (Ormrod 1984) . B Photograph of Una Troubridge (left) and Radcyffe Hall at Crufts, 1923 (Baker 1985) . 8. A Photograph of Radclyffe Hall (left) and Naomi Jacob on holiday in Italy (Baker 1985) . B Photograph of Naomi Jacob (left), Una Troubridge (center) and Radclyffe Hall on holiday in Sirmione, Italy, 1934 (Baker 1985) . 9. Photograph of Una Troubridge by Hoppe, 1915 (National 3 Portrait Gallery) . 10.A Photograph of Radclyffe Hall which was widely reproduced in 1927 (National Portrait Gallery) . B Radclyffe Hall caricatured in T. P. 's Weekly, 1926 (Baker 1985) . C Punch cartoon, 1926 (Mar. 24, 1926, p.313). 11.A Photograph of Radclyffe Hall by Howard Coster, 1932 (National Portrait Gallery) . B Photograph of Radclyffe Hall by Howard Coster, 1932 (National Portrait Gallery) . 12.A Photograph of C. Eliot Hodgkin by Bassano, 1931. B Photograph of 'Bunny' Austin by Bassano, 1931. C Photograph of Anna Neagle by Bassano, 1931. D Photograph of Unity Mitford by Bassano, 1932. (All National Portrait Gallery.) 13. Self-portrait by Gluck, 1925 (Souhami 1988). 14. Self-portrait by Gluck, 1942 (Souhami 1988). 15. Photograph of Gluck by Hoppe, 1924 (Souhami 1988). 16. Photograph of Gluck by Howard Coster, c. 1932 (Souhami 1988) . 17.A Photograph of Vita Sackville-West by Howard Coster, 1934 (National Portrait Gallery) . B Photograph of Vita Sackville-West by Howard Coster, 1934 (National Portrait Gallery) . 18.A Photograph of Gladys Calthrop by Howard Coster, 1931 (National Portrait Gallery) . B Photograph of Gladys Calthrop by Howard Coster, 1931 (National Portrait Gallery) . 4 19. Photograph of Sylvia Townsend Warner by Howard Coster, 1935 (National Portrait Gallery) . 20.A Photograph of Radclyffe Hall in 1928, from The Life of Radclyffe Hall (Troubridge 1961) . B Photograph of Radclyffe Hall in 1938, from The Life of Radclyffe Hall (Troubridge 1961) . 21.A Photograph of Alice ( left) and Eleanor on holiday, 1932/3. B Photograph of Eleanor (left) and Alice on holiday, 1932/3. 22.A Photograph of Bee, early 1930s. B Photograph of Bee, early 1930s. 23.A Photograph of Bee, early 1930s. B Photograph of Bee, early 1930s. C Photograph of Bee, early 1930s. 24.A Photograph of Eleanor at Strangways Farm, 1938-43. B Photograph of Eleanor (left) at Strangways Farm, 1938-43. 25.A Photograph of Margot (left) and Bee, Juan Les Pins 1932. B Photograph of Margot (left) and Bee, Juan Les Pins 1932. 26. Drawing of Gluck as a gypsy by A.J. Munnings, 1916 (Souhami 1988) . 27.A Photograph of Augustus John by A.L. Coburn, 1914. B Photograph of Augustus John by Charles Slade, 1909. C Painting of Dorelia John by Augustus John, 1911. (All National Portrait Gallery.) 5 28. Painting of Gluck titled Peter, A Young English Girl, by Romaine Brooks, 1923/4 (Souhami 1988). 29.A Painting by Gluck of herself (right) and Ella Naper (Souhami 1988) . B Portrait of the Artist and His Wife by Joseph Southall, 1911 (BCMAG 1980) . 30. Drawing by Violet Trefusis of herself (right) with Vita Sackville-West dressed as 'Julian', Paris 1918 (Jullian & Phillips 1976) . 31. Photograph of Radclyffe Hall (seated) and Mabel Batten (Baker 1985) . 32.A Photograph of Naomi Jacob, pre 1937 (Jacob 1937). B Photograph of Sadie Robinson, pre 1937 (Jacob 1937) . 33. Painting entitled Private View by Gladys Hynes, 1937 (Baker 1985) . 34. Photograph by Brassai of a lesbian couple at Le Monocle, Paris c.1932. 35. Photograph of Una Troubridge aged 17 (Ormrod 1984). 36. Self-portrait by Una Troubridge, 1910 (Ormrod 1984). 37. Cartoon of Una Troubridge (center) and Radclyffe Hall (right) by Leo Dowd (National Portrait Gallery Archive) .
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