From Land to Sea: The Unique Dress of Scottish Fishwives

By Emma Sosebee (AHMP’23), Thursday, July 13, 2023

The wives or daughters of fishermen, otherwise known as fishwives, were an essential part of the local economy and culture of Scotland until the dominance of industrialization in the mid-twentieth century made small-scale fisheries obsolete. While their husbands or fathers were off at sea, these women––in combination with caring for their large families––were responsible for cleaning the men’s fishing lines and attaching a variety of new bait, gutting and cleaning the day’s catch in freezing water, and carrying heavy loads of freshly prepared fish for miles to sell at city markets or from house to house. Besides their physically demanding jobs and sharp tongues, these women were also known throughout the country for their distinctive dress. In an effort to increase fashion history scholarship that focuses on working-class communities, this essay will discuss the outfits that Scottish fishwives commonly wore while laboring and for cultural celebrations. 

Although existing documentation of the usual uniform worn by these women is unfortunately scarce, past interviews with former fishwives of Newhaven (a district in the City of Edinburgh, Scotland) provide some insight. Their work clothing was relatively simple, and consisted of a navy blue cot, otherwise known as a petticoat, made out of thick flannel; a dark, possibly wool, gown put on over top; and even a white and navy woolen brat––the word for cloak in the Scots language––for days with harsher weather conditions (see fig. 1 and 2). Both their petticoats and dresses were significantly shorter than the ankle-length garments that were common at the time. While they displayed more of the leg than was typical for women’s fashions, the rather practical calf-length gave fishwives greater freedom of movement and kept their skirts clean. To finish off the look, these fisherwomen typically wore dark wool stockings and black leather lace-up shoes with short heels.

Fig. 1: Esther Liston, the last working Newhaven fishwife, in her work clothes. Photographer and date unknown, The Newhaven Heritage Centre. 

Fig. 2: One fishwife of Fisherrow, Scotland, helping another woman lift her creel onto her back. Photographer unknown, c. 1955, The Woven Communities Project.

Many historic photographs seen nowadays that exhibit the clothing of Scottish fishwives were heavily staged and thus show the women in their traditional ‘gala-dress,’ rather than their working uniform as discussed above (see fig. 3 and 4). These gala-dresses were worn on special events only; namely, for Sundays, Harvest Thanksgiving and other festivals, and the Fisherlassies’ and Fisherwomen’s choirs. When describing such outfits, the 19th-century writer Lady Eastlake claimed: “With a heavy load of petticoats as of fish . . . She was laden with clothes, petticoat over petticoat, striped and whole color, all of the thickest woolen material.”

Fig. 3: David Octavius Hill and Robert Adamson, Newhaven Fishwives, c. 1845, Salted paper print from paper [calotype] negative, 29.5 x 21.7 cm, The Metropolitan Museum of Art, 1997.382.19.
Fig. 4: David Octavius Hill and Robert Adamson, Newhaven Fishwives, c. 1843-47, Salted paper print from paper [calotype] negative, The Metropolitan Museum of Art, 37.98.1.60, Gift of Harris Brisbane Dick Fund.

Fishwives in their gala-dress were generally observed wearing two layers of heavy woolen petticoats tied around their waists. Both were made of a broad, vertically striped fabric (see fig. 5 and 6). The first petticoat was often made of a vivid red and white material, but the second one’s colors differed depending on location: Newhaven women usually wore yellow and white, whereas those from Fisherrow (a harbor and former fishing village, now incorporated into the town of Musselburgh in Scotland) wore blue and white. The yellow or blue and white petticoats had a kind of padded undergarment, or bustle, to assist in supporting the weight of the creel (i.e., woven basket) worn on a fishwife’s back. A cotton apron of blue and white stripes, pinned to the inside of the second cot, and a medium-sized pooch––the Scots term for pocket (see fig. 6)––were also tied around the waist; as famously shown in depictions of fishwives, their aprons would be kilted up over the top petticoat and pinned to hang in a neat point in the front. Furthermore, the women would don shor’goons, which were long blouses with short sleeves, of various colors and patterns.

Fig. 5: Colored image of two fishwives in their gala-dress, posed by the sea. Photographer and date unknown, The Newhaven Heritage Centre.
Fig. 6: Two Musselburgh fishwives in their gala-dress, with ‘pooches’ visible in front. Photographer and date unknown, East Lothian Library Services (image found on KDD & Co. Scottish Publishing and Design).

The finishing touches to the upper half of the gala-dress were the addition of a broad satin ribbon, tied into a bow and pinned to the wearer’s chest with a brooch, as well as a shawl that would be draped over their head and shoulders. Sometimes, fishwives could also be spotted with stiff white caps over their hair. Similar to their daily outfits, they wore white worsted stockings and high-quartered shoes. What is most interesting is the fact that the entirety of this festive costume lacked any buttons or hooks and eyes; instead of having such efficient closures, which would have required sewing to be attached, these outfits were held together by a multitude of ties and pins and made putting them on quite the hassle.

Both the atypical length of the petticoats seen in the daily, functional uniforms of fishwives, as well as the elaborate and haphazardly assembled outfits they wore on special occasions, undoubtedly stand out in fashion history. As a consequence of the global turn toward industrialization, the economic and social role that such hardworking women of Scottish history played is over; within the last few years as well, the majority of the remaining generation of former fishwives have passed away from old age. Nevertheless, thanks to the documentation provided by charmed 19th and 20th-century writers and photographers alike, the intriguing fashion of these traditional fisherwomen lives on.

About the Author

Emma Sosebee (she/her/hers) is a 2023 graduate of the AHMP program and one of the curators of Claire McCardell: Practicality, Liberation, Innovation at The Museum at FIT (April 5-16, 2023). Throughout her undergraduate career, Emma developed an enthusiasm for how arts institutions care for their numerous objects. She hopes to pursue her interest in the collections management field and is currently an intern in the Collections Department at The Paleontological Research Institution in Ithaca, New York.

Further Reading

Barber, Dr. Karen. “David Octavius Hill and Robert Adamson, Newhaven Fishwives.” Smarthistory. Accessed April 16, 2023.

Fairnie, Simon, and Dawn Susan. “To the Creel. Fisherrow Fishwives and Their Baskets.” Woven Communities. Accessed April 16, 2023.

Linklater, Fraser. “‘They Put a Creel Aroond My Back and Bid Me Call My Haddies’​: The Newhaven Fishwives, Preserving Lost Community History and Cultural Transmission Through Generations.” Scotland’s Sounds, September 9, 2020.  

Liston, Jane-Ann. “The Newhaven Fisherwomen’s Gala Dress.” A Stravaig Through Time. Newhaven Heritage Centre. Accessed April 16, 2023.

“The Fisherrow Fishwives.” John Gray Centre – Library, Museum & Archive. Accessed April 16, 2023.

“The Newhaven Fishwife.” A Stravaig Through Time. Newhaven Heritage Centre. Accessed April 16, 2023.

On Time in Scrapbooks

By Alexander Nagel, Thursday, May 19, 2022

ΜΟΔΑ IS FASHION is the first entirely AHMP senior student class curated exhibition at the FIT Gladys Marcus Library on the State University of New York’s campus in downtown Manhattan. The Art History and Museum Professions program developed out of a Visual Arts Certificate program in the early 2000s. Today, many AHMP alumni are successful curators, archivists, educators, and writers.

Inspired by the many holdings related to Greece throughout the FIT campus collections, we began research for this exhibition in January 2022. It became quickly evident that there are actually so many exciting archives, materials and stories related to Greek speaking designers, Greek illustrators, Greek influencers and writers in our Museum at FIT and in our Special Collections and College Archives.

Pre-internet, physical photographs and illustrations were an easy and affordable way to circulate and share ideas and inspirations for young designers. Scrapbooks with postcards and photographs cut out from books and magazines were one way to appreciate and learn about other people and cultures around the world since collecting actual fashion designer’s work for the campus displays in a more organized way did not began in a more organized way until 1969. These early FIT Scrapbooks speak to us in understanding past methods of class-room education in Manhattan, as photographs and archives mattered then as they do today.

Fig. 1 Scrapbook by an unknown artist with a photograph cut out from the magazine In Greece. Quarterly. On display at ΜΟΔΑ IS FASHION in Spring and Summer 2022.

According to a handwritten note, the photograph in this scrapbook compiled by an FIT educator or designer in the 1960s is an illustration cut out a from a magazine In Greece. Quarterly, though no year is given. “Men dancing in traditional Greek costume” is the title of a photograph by Elli Sougioultzoglou-Seraidari, better known as “Nelly” (1899–1998). Nelly’s photographs, especially those portraying people dancing, gained great popularity in the 1930s and later, and she inspired entire generations of photographers. Born in Aydin, now part of Turkey, and spending years in Athens in Greece and in Dresden in Germany, she first arrived in New York City in 1939 with an official mission to assist in overseeing parts of the decoration of the Greek pavilion for a World Fair in Queens.

This is when Nelly’s love affair with New York City began. Soon thereafter, she began photographing sites, people, and events in New York City. One series of photographs featured the New York Easter Parade, a tradition particularly important for Greeks. Nelly owned a Studio on 57th Street close to Central Park and lived in New York City for over 34 years before she died back in Athens in Greece in 1998. Many of her photographs, including some she shot in New York City, were later donated to the Benaki Museum in Athens, Greece. The photograph in the FIT scrapbook displayed connects us to the legacy of a photographer who is not uncontroversial today as is her influence and legacy as a photographer of inter-war Greece.

Fig. 2 Scrapbook Bialo Archive Greece. Scrapbook at the FIT Gladys Marcus Library.

Sometimes there are other stories that develop from engaging with a scrapbook collection and archives such as those housed at FIT. In some cases, the name of the person who compiled the scrapbook is even known. This is the case with a series of little scrapbooks compiled by artist Deirdre Bialo. One scrapbook contains sets of cut out photographs and postcards from Greece. It contains, among many other items a commercial postcard of the painting Οι Πρόσφυγες (“The Refugees”) by Greek artist Theodoros Rallis (1852–1909). Would it not be interesting to sometimes go back in time and listen to the conversations of those who painted, to those who later photographed, those who distributed the photographs and compiled these in scrapbooks?

Fig. 3 Postcard of the painting “The Refugees” by Greek painter Theodoros Rallis (1852–1909), included in the Bialo Archive Scrapbook Greece at the FIT Gladys Marcus Library.

Further Reading

Damaskos, Dimitris and Dimitris Plantzos, eds. 2008. A Singular Antiquity: Archaeology and Hellenic Identity in Twentieth-Century Greece (Athens, Benaki Museum), esp. “The Uses of Antiquity in Photographs by Nelly: Imported Modernism and Home-Grown Ancestor Worship in Inter-War Greece,” The full volume is accessible online here.

Degirmenci, Erol. 2022. “The Queen of Neoclassical Photography: Nelly.” Daily Art Magazine. March 27, 2022.

FioRito, Taylor, Allie Geiger and Clay Routledge. 2020.Creative Nostalgia: Social and Psychological Benefits of Scrapbooking,” Journal of the American Art Therapy Association 38.2: 98–103.

Markessinis, Andreas. 2016. The Greek Pavilion at the 1939 New York World’s Fair. Pelekys.

Vogeikoff-Brogan, Natalia. 2021. “The Transatlantic Voyage of a Greek Maiden,” From the Archivist’s Notebook Blog, April 17, 2021.

Zacharia, Katerina. 2015. “Nelly’s Iconography of Greece,” In Camera Graeca: Photographs, Narratives, Materialities, edited by Philip Carabott, Yannis Hamilakis and Eleni Papargyriou. London: Routledge: 233–56.

About the Author

Dr. Alex Nagel is Chair of the Art History and Museum Professions Program (AHMP). He recently contributed an essay on Greek archives and legacies at the Smithsonian Institution in Washington, D.C. to the volume Legacies of Ancient Greece in Contemporary Perspectives, ed. by Thomas Gerry (Vernon Press, 2022, pp. 23–62). Learn more about his work here.

One Current Favorite Reading or Art Exhibition

Ariella Aïsha Azoulay. 2019. Potential History: Unlearning Imperialism. London: Verso Books. 

Freedom Within: A Photo Essay by Christopher Huot

This guest photo essay was written by Harlem based photographer Christopher Huot. It was developed under and curated by Joi Berry (AHMP’23) as part of the initiative “Black Futures” sponsored by the FIT Diversity Collective in 2022. These are the words of Chris.

I am grateful for this opportunity. Coming from East Harlem, a place where opportunities feel slim, sometimes people lose sight of the goals they once had. In a setting where materialistic values are glorified, for the most part, it can feel hard to breathe when your dreams are larger than life. In this essay, most of the people photographed come from the same neighborhood as I. They understand the emotions I feel whether it be the joy of going outside on a hot summer day or mourning the loss of a close friend. I selected these photos because of the feelings they exude.

Every photograph in Freedom Within holds emotions that are dear to me. Some make me more emotional than others. Some hold darker, deeper emotions than others. All in all, they are very important to me and what I stand for. I truly believe that freedom is within us. I am a person who is easily swallowed by my emotions, and I tend to be less vulnerable than I could be. I have lost many things. Material and sentimental alike. When I decide to step back and look at my life for what it is, I realize that even though all the things I have gone through I am truly blessed. My journey has not been an easy one. Yet, from a different perspective, it is clear to me that my journey has only begun.

These photographs feature upcoming Harlem artist and musician Roseboy Siah. Siah, being the young man that he is, consistently comes to me to get commission work done. Starting his rap career at 14, his music has been getting more and more popular over the last five years. His image as an artist is important to him, and as his go-to photographer, his image is important to me as well.

Here is why the “Bell Ringer” photograph matters to me. When you come from a neighborhood where word travels fast, the positive things you do get spread quickly by the people around you. The second photograph features Siah in a place he is most happy. The studio has become his sanctuary. “Beginnings” was taken in the middle of the George Washington project houses in East Harlem, the neighborhood Siah built his support group. Siah’s music is loved by many, especially the people from here. Many of our mutual friends were raised in these housing projects. He has made it his mission to become an artist bigger than just a neighborhood star, he wants to become an international star. His community is what fuels him, and it is what he wants to give back to. This is something we both feel deeply about.

“Beyond the View” features models Kash and Josiah. The boat in the background was my main subject for this photo. I feel it tells a story of hope, while the simplicity of the actual atmosphere during the shoot was something I wish to feel every day. Just young people seeing the beauty of the ocean.

“Ootaman” features upcoming Harlem artist Dotty Boom. This is one of the first of many photos I took for my friend Dotty, whom I’ve known since middle school. This was also my first time using a point-and-shoot film camera. I wanted Dotty to be the first person I shot with the camera and this scene ended up being perfect in my eyes. From the outfit to the weather, everything was exactly how I wanted it to be. This photo opened my eyes to the beauty of film photography.

Thank you, again, for this opportunity.

Follow Chris’ work on instagram.