Fashioning Identity: Clothing as a Form of Queer Self-Expression

• I’m Eddie (He/They), a current third-year History of Art student at the University of Nottingham.
• In my second year I completed the Work Placement Module with the National Justice Museum which broadened my knowledge of museum retail offers and gave me an insight into the heritage sector.
• This was a rewarding and interesting opportunity, helping to enhance my skills and prepare me for a successful career within the heritage sector. 
• I am currently working on my dissertation looking at fifteenth-century images of witchcraft, focusing on the relationship between societal beliefs and the use of images.
• Whilst it is difficult, the experience and research involved are enjoyable and rewarding.
• After I graduate, I would like to gain a post-graduate qualification to enable a career in archives and records management. 
• Being part of the ‘Curating, Researching, Digitising and Exhibiting Leicestershire Museum Collections’ placement through the University of Nottingham has been an invaluable, interesting experience allowing me to gain knowledge about collections and the process of navigating the curation of an exhibition.
• Whilst working with Culture Leicestershire, I had the incredible opportunity to visit the Collections Resource Centre.
• As a final-year History of Art undergraduate student interested in entering the archives and records management field, I found the collections visit greatly inspiring, and I am so grateful for this opportunity to gain hands-on learning within museum collections. 
• Upon entering the Centre, we received a welcoming tour of the diverse collection and archives. This began with the art store, including a vibrant, vast range paintings on roller racking holding a relevant connection to the area and history of Leicestershire.
• As an Art History student, I am particularly interested in portraiture and the concept of self-fashioning. 

Ambassador John Burnaby, born in 1701, was a Gentleman of the King’s Privy Chamber and Minister of the Swiss at Turin between 1743 and 1749. 

His vibrant and extravagant clothing projects an image of high power, wealth and status, emphasising the role portraiture can play in fashioning the image of the self.

Reflecting the typical formal daywear of the 1740s, Burnaby appears to wear a habit a la français – a coat left open to show the elaborate, shorter waistcoat beneath, and breeches.  

The waistcoat of the 1740s was typically lavished with the decoration of embroidery, presented in Burnaby’s portrait through the gold, brocade fabric of the waistcoat that is decorated with elaborate embroidery of red flowers and leaves.

The combination of an expensive fabric and exuberant embroidery emphasises the costly nature of the garments, emphasising Burnaby’s status and wealth.

Alongside social status, the portrait of Ambassador John Burnaby also presents more personal expressions of the self, as the 18th century waistcoat was considered a personal affair, reflecting individual moods and enthusiasms.

It is unclear what specifically is trying to be evoked here as the details of the clothing are still unknown; however, the iconography of the flowers may hold an indication of Burnaby’s personal interests and identity.

Despite this uncertainty, the extravagance of the waistcoat and its embroidery certainly highlights a semblance of self-expression. 

These ideas of self-expression through unique and vibrant clothing are similarly evoked through the 1970s ‘Jubilee Rock’ men’s suede brothel creepers by George Cox Footwear Ltd (See image below).

Upon first look, I found these shoes to be quite a powerful symbol with the Union Jack and immediately made me recall the punk movement that emerged in the 1970s.

This interpretation of punk themes highlights notions of self-expression as resistance – themes which are integral to queer self-expression. 

Due to these preconceptions, it was interesting to discover the origins of this style of shoe created by George Cox Footwear Ltd. Established in 1906, George Cox originally created two styles of shoe; however, in 1949 a new style was developed.

The new style of shoe was named ‘The Hamilton,’ and was characterised by a distinctive, natural ‘plantation crepe’ sole and was consequently dubbed the ‘brothel creeper.’

This style of shoe quickly became popular with the Teddy Boys – Britain’s first mass-youth subculture.

Whilst the Union Jack pattern visually presents a certain identity, the fact that they were adopted to fashion a mass group illustrates an interesting idea of fashioning a community identity. 

I wish to thank Dr. Daniel Mutibwa, Matt Davies in the Digital Transformations Hub and the Culture Leicestershire team for their continuous guidance and support.

I have had the opportunity to take part in a significant, memorable project that has furthered my interest and appreciation for the heritage industry and its continuous attempts to uncover the hidden histories and stories that deserve recognition and accessibility.