The suffragette movement,
which campaigned for votes for women in the early twentieth century, is
most commonly associated with the Pankhurst family and militant acts of
varying degrees of violence. The Museum of London has drawn on its archive
collection to convey a fresh picture with its exhibition. [The Purple, White and Green:
Suffragettes in London 1906 – 14]
The name is a reference to the
colour scheme that the Women's Social and Political Union (WSPU) created to
give the movement a uniform, nationwide image. By doing so, it became one
of the first groups to project a corporate identity, and it is this
advanced marketing strategy, along with the other organisational and
commercial achievements of the WSPU, to which the exhibition is devoted.
Formed in 1903 by the
political campaigner Mrs Emmeline Pankhurst and her daughters Christabel
and Sylvia, the WSPU began an educated campaign to put women's suffrage on
the political agenda. New Zealand, Australia and parts of the United States
had already enfranchised women, and growing numbers of their British
counterparts wanted the same opportunity.
With their slogan 'Deeds not
words', and the introduction of the colour scheme, the WSPU soon brought
the movement the cohesion and focus it had previously lacked. Membership
grew rapidly as women deserted the many other, less directed, groups and
joined it. By 1906 the WSPU headquarters, called the Women's Press Shop,
had been established in Charing Cross Road and in spite of limited
communications (no radio or television, and minimal use of the telephone)
the message had spread around the country, with members and branch officers
stretching to as far away as Scotland.
The newspapers produced by the
WSPU, first Votes for Women and later The Suffragette, played a vital role
in this communication. Both were sold throughout the country and proved an
invaluable way of informing members of meetings, marches, fund-raising
events and the latest news and views on the movement.
Equally importantly for a
rising political group, the newspaper returned a profit. This was partly
because advertising space was bought in the paper by large department
stores such as Selfridges, and jewellers such as Mappin & Webb. These
two, together with other like-minded commercial enterprises sympathetic to
the cause, had quickly identified a direct way to reach a huge market of
women, many with money to spend.
The creation of the colour
scheme provided another money-making opportunity which the WSPU was quick
to exploit. The group began to sell playing cards, board games, Christmas
and greeting cards, and countless other goods, all in the purple, white and
green colours. In 1906 such merchandising of a corporate identity was a new
marketing concept.
But the paper and
merchandising activities alone did not provide sufficient funds for the
WSPU to meet organisational costs, so numerous other fund-raising
activities combined to fill the coffers of the 'war chest'. The most
notable of these was the Woman's Exhibition, which took place in 1909 in a
Knightsbridge ice-skating rink, and in 10 days raised the equivalent of
£250,000 today.
The Museum of London's
exhibition is largely visual, with a huge number of items on show. Against
a quiet background hum of street sounds, copies of The Suffragette,
campaign banners and photographs are all on display, together with one of
Mrs Pankhurst's shoes and a number of purple, white and green trinkets.
Photographs depict vivid
scenes of a suffragette's life: WSPU members on a self-proclaimed 'monster'
march, wearing their official uniforms of a white frock decorated with
purple, white and green accessories; women selling The Suffragette at
street corners, or chalking up pavements with details of a forthcoming
meeting.
Windows display postcards and
greeting cards designed by women artists for the movement, and the quality
of the artwork indicates the wealth of resources the WSPU could call on
from its talented members.
Visitors can watch a short
film made up of old newsreels and cinema material which clearly reveals the
political mood of the day towards the suffragettes. The programme begins
with a short film devised by the 'antis' - those opposed to women having
the vote -depicting a suffragette as a fierce harridan bullying her poor,
abused husband. Original newsreel footage shows the suffragette Emily
Wilding Davison throwing herself under King George V's horse at a famous
race.
Although the exhibition
officially charts the years 1906 to 1914, graphic display boards outlining
the bills of the enfranchisement of 1918 and 1928, which gave the adult
female populace of Britain the vote, show what was achieved. It
demonstrates how advanced the suffragettes were in their thinking, in the
marketing of their campaign, and in their work as shrewd and skilful
image-builders. It also conveys a sense of the energy and ability the
suffragettes brought to their fight for freedom and equality. And it
illustrates the intelligence employed by women who were at that time deemed
by several politicians to have 'brains too small to know how to vote'.
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