It has been one year since the Hodson Shop Project officially began. I realised this whilst flicking through some photographs I’d taken on Instagram. For some reason, I tend to take photographs of whatever I’m working on and one year ago I was opening my brand new notebook , carefully drawing a cover page (see picture below) and beginning to make notes on Arjun Appadurai’s The Social Life of Things.
What followed has been an eventful and enjoyable year, a year in which:
- 20,000 words have been written
- 60 items from the Hodson Shop Collection have been analysed
- 8 members of museum staff (past and present) have been interviewed
- 7 hours 30 minutes of audio have been recorded
- 3 Moleskine notebooks have been filled
- 5 lever arch files have been filled (an additional 2 have broken due to volume of contents)
- 57 books have been loaned
- 12 blog posts have been written
- 7 conferences/seminars/workshops have been attended
- 2 presentations have been delivered
- 2 abstracts for conference papers have been submitted
- 1 conference paper has been accepted
I’ve left that one until last as I am thrilled to announce that I will be delivering a paper entitled The Hodson Shop Project: Biographies Without Bodies at the upcoming Association of Dress Historians New Research Day, 15th November. I’ll post more details as and when they become available. It feels quite special that I received the news exactly one year on from starting my PhD studies!
A massive thank you to my supervisory team, everyone at Walsall Museum and Sheila B. Shreeve, MBE for all of their support over the past 12 months (and before). Here’s to the next 12 months! Oh, and thank you for reading!
There aren’t many pretty pictures to accompany this post, mainly because my work has been far from visual over the last couple of months. The focus of my research has shifted from interacting with ‘things’ to interacting with people; interviewing people or, to put it in its simplest form, talking to people.
I’ve been talking to past and present staff at Walsall Museum about their experiences of the Hodson Shop Collection. My approach has been partly that of an oral historian and partly that of a particularly nosy ethnographer!
My aims have been:
- To establish the story of the collection, from the point of discovery to the present day, according to the people who have worked with it
- To chart how changes in museum spaces have effected the collection, in terms of both display and storage
- To discover how museum professionals understand and interpret the collection on personal and professional levels
The final aim is one that I still struggle to pin down, but I’m going to have a go. Apologies as I know how vague and unrefined this is:
I want to unpick the relationships between people and the items within the collection. This could be as simple as an individual’s favourite item and the reasons behind it or as complex as how the collection has altered or otherwise impacted on an individual’s life and/or career.
Before embarking on the research, I read plenty of intimidating tomes about conducting interviews. Phrases like ‘building rapport’ and ‘power dynamics’ rang in my ears and, quite frankly, terrified me. But it was only when I sat down with my first interviewee, cups of tea in hand, that it hit me: there’s nothing scary about having a chat. There are some out there who might be rankled by my unsophisticated choice of word here but I’m standing by it.
I have also discovered that it sometimes better for the interviewee if interview is referred to as a ‘chat’. It is a simple shift in language that can completely change an individual’s response. A friendly conversation about something they have a deep interest in is much more appealing than an ‘in-depth interview’. It can be tricky to balance this friendly informality with the necessary filling in of consent forms and explanations of the project and how recordings will be used, but it isn’t impossible.
I’ve been recording interviews on my LiveScribe (it is a pen with a audio recorder built in, amongst other James Bond-style features – pictured above). My hope was that the pen would be far less invasive than a conventional recording device plonked on the desk, I hoped it would be almost an “invisible recorder”. Without delving into a full review, it has been successful to a point, though the LiveScribe has a few frustrating irks such as a tendency to pick up the sound of the pen nib making contact with the page. I also had to angle the pen towards the speaker, making for some artificial holding positions and postures.
The next step is to transcribe and sort my data. Notes made during the interviews and memories already indicate some clear themes emerging. I’m excited to see what close analysis of the text will reveal whilst equally nervous about what will have been lost in the jump from sound to text.
Throughout this whole process, I’ve found Paul Thompson’s The Voice of the Past to be invaluable. It may be 35 years old and talk about cassette recorders as the height of technological sophistication but the approach he outlines is wise and straightforward. The art of talking to people is timeless.
Massive thanks to everyone who has been involved in the interviews/chats so far! Now for the fun part: transcription.
54 New Road, Willenhall was the site of the Hodson Shop. The building is now in the care of the Black Country Living Museum (BCLM) and goes by the name The Locksmith’s House due to Edgar Hodson’s successful lock making business that operated from the same site.
The house isn’t normally open to the public, so I jumped at the chance to go on a special visit with historian Rod Quilter. I spent a wonderful afternoon exploring 54 New Road. It felt odd to be in a place that I have read and written so much about.
Stepping into the shop, which now functions as a reception area/gift shop/mini exhibition space I was instantly struck by how small it was. My only previous experience of the space had been from a black and white photo taken in 1983 – whoever took it had obviously applied estate agent style photographic skills!
There was display case of 1920s clothing and shelves in alcoves to either side of the fireplace. In fact, the fireplace was my only real point of reference from the photograph; the display units were all new additions. The shelves held corsetry, accessories and haberdashery items – everything on display had been loaned from Walsall Museum. A door between the shop and neighbouring parlour had been filled in. The shop was accessed from the street by walking through the front door and walking a short way down a stone-floored hallway. It seemed strange for the shop to share an entrance with the rest of the house, as if the boundaries between personal and business spaces were blurred.
The parlour had been recreated with a combination of reproduction soft furnishings and original furniture. There was a booklet of photographs on a small table; it contained images of the Hodson family including a stunning photograph of a youthful Flora Hodson.
We went upstairs to a small office space; it was next door to the master bedroom – again with the blurred lines between business and private life. The bedroom was quite poignant, it was where Flora Hodson slept, alone in the house, following the death of her sister and brother.
Edgar Hodson’s lock making business is the focal point of the property. We were lucky to get a tour of his factory and some facts about lock making from a volunteer called Andy who is a locksmith himself and runs demonstrations for visitors. It turns out that Edgar supplied locks all over the world, including a booming business in Latin America.
It was fascinating to walk through the house and it got me thinking about how the collection has become separated from its original environment. I am very interested in how the historical narrative of lockmaking has been prioritised over one of shop keeping and clothing. On a more practical level, I am struggling to imagine how the collection once fitted into such a compact space!
As mentioned above, the house isn’t generally open to the public – school and group visits can be arranged by contacting the BCLM. However, the house has an annual free open day complete with tours and lock making demonstrations. The next one is Saturday 14th September, 10am-4pm. I’d highly recommend it.
Massive thanks to Jo Moody and Andy at BCLM, Catherine Lister at Walsall Museum and Rod Quilter for a wonderful afternoon!
It has been a while since my last post. I’ve been busy over the past few weeks – finishing the object analysis stage of my research, preparing for interviews with museum staff and delivering two presentations about the Hodson Shop Project.
During this time, I’ve been lucky to attend two CHORD workshops and a study day at the University of Chester about the Textile Stories project, organised by Professor Deborah Wynne. It is always a pleasure to go along to such events and meet people who are passionate about clothing and history. It is especially exciting to have a chance to talk about my research with these people!
I’m still very much in the thick of it research-wise, so this post is more a collection of some of the gorgeous images that I have captured in the course of my studies over the last month or so.
It is quite refreshing to step back from detailed analysis and to simply appreciate something because it is pretty. Some objects and garments make people smile, a factor which is arguably undervalued in studies of material culture. And sometimes that smile is enough. There are no long-winded descriptions or complex biographies for any of the items picture below. Enjoy.