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A Historical Hero: “You can kill me as soon as you like…”

I was going to write about a five  of my historical heroes for the Historical Sew Monthly ‘Heroes’ challenge, but when I started writing, I found I had enough to say about just one hero to  fill a post.

My parents encouraged my love of history and reading from a very young age, and my bookshelves were full of books about great heroes for a young girl: biographies of Mary McLeod Bethune, Queen Victoria, Julia Ward Howe, Marie Curie, Sacagawea, Ada Lovelace, Angela Burdett-Coutts, Sojourner Truth, Mary Wollstonecraft, Zenobia, Louisa May Alcott, Florence Nightingale, Mother Jones, Elizabeth Blackwell, Ida Tarbell, Susan B. Anthony, Isabella Bird…

I had lots of heroines to choose from, and I admired them all (though as an adult, I’ve come to realise that many of them were much more complicated figures than was described  in the juvenile  biographies I read), but there was one that I always came back to, and that, while my life has very little in common with hers, has had the biggest impact on who I have become as a person: poet, feminist, Baha’i heroine and martyr, Táhirih Qurratu l-‘Ayn.

In recounting her life, I’m going to try to be as accurate as possible, without getting too bogged down in the complicated political and religious intricacies of mid-19th century Persia.  There are no known images of  Táhirih, so I’ve illustrated this with photos of Wellington in early spring.

Wellington in Springtime, thedreamstress.com

Táhirih was born in what was then Persia (now Iran), sometime between 1814 and 1817.  The daughter of a wealthy cleric, she  was raised  surrounded by material privilege, and, very unusually for a girl  of the place and period, was given a thorough education.  From a young age she was considered something of a genius, and under her fathers tutelage she acquired  a detailed  knowledge and understanding of Islamic theology, Persian literature, and legal jurisprudence.

Although her father had defied social conventions when he taught her, he  did not do the same when it came to marriage, and at age 14 she was forced into an arranged marriage with her cousin.  The marriage was an unhappy one:  Táhirih wanted to continue her studies, to teach, and to travel, and her husband wanted her to bear children, remain at home, and live a life devoid of anything noteworthy.

Wellington in Springtime, thedreamstress.com

While her husband attempted to constrain her life,  Táhirih secretly continued her studies by using the libraries of more sympathetic and liberal members of her family, and also set a fashion for scholarship among the upper class women of Qazvin (much to the annoyance  of her husband).  Through another male cousin she encountered the writings of Shaykh Ammad and Sayyid Kazim, which predicted the immanent return of a messiah.  These writings exactly fit with  Táhirih’s reading of the Quran, and she began corresponding with Sayyid Kazim, to the displeasure of the more conservative half of her family, who saw this viewpoint as heretical.

Matters became increasingly tense between  Táhirih and her husband, until finally, in 1843, with her fathers help, she convinced him to let her take her sister on a trip, ostensibly to make a pilgrimage to the Islamic shrines in Karbala (Iraq).  Instead,  Táhirih left her husband permanently, and went to the home of Sayyid Kazim, also located in Karbala.  She discovered he had recently passed away, and undaunted, with his wife’s blessing, took up his scholarship, and began teaching his students.  Though she had to teach from behind a curtain, the idea of a woman teacher  was still incredibly groundbreaking, and to many, shocking.

Groundbreaking  was the template for the rest of  Táhirih’s life.  In 1844 she encountered the  writings of the Bab (very roughly, the John the Baptist of the Baha’i Faith), and instantly recognised him as the messiah the followers of Shaykh Ammad and Sayyid Kazim had been waiting for.

Wellington in Springtime, thedreamstress.com

For the remaining 8 years,  Táhirih’s life would be devoted to teaching the Baha’i Faith, and, through her actions, demonstrating one of the fundamental teachings of the faith: the equality of men and women.  Táhirih saw that women could never be equal if they were forced into marriages as teens, if polygamy continued to be acceptable, if they were not educated, and most of all, if they were still forced to wear the veil.  In 1848, at a major conference of Baha’is,  Táhirih appeared before the assembled men, removed her veil, and began speaking.  She was almost certainly the first woman in the semi-modern Islamic world to unveil herself at a large public gathering, and her action was so astonishing and unprecedented that one attendee immediately attempted to cut his own throat.  Táhirih  was regarded by the early Baha’is as the epitome of feminine virtue, so, while her actions alienated some, for most they demonstrated that  wearing the veil had nothing to do with modesty or virtue.  If  Táhirih could go without one, and still be absolutely pure at heart, any woman could.

Such actions did not come without consequences.  Táhirih and her followers were stoned as they travelled around Iraq and Persia, and even before the unveiling her husband had divorced and denounced  her, her uncle had supported slanderous propaganda against her, and her father had  imprisoned her in the cellar  of his  house, in a misguided attempt to protect her, and to attempt to change her mind about the Baha’i Faith.

After the conference she was arrested and taken to Tehran, the capital of Persia, and charged with heresy.  Placed under house arrest in the homes of various public officials, she  defied her family and the clerics who opposed her by continuing to teach the women of the house, and their guests, attracting admirers and followers.  She was so famous for her learning, charisma, and beauty that the Shah (at least 12 years her junior) demanded to see her, and, enamoured, repeatedly offered to marry her if she would renounce the Baha’i Faith.

By this point  Táhirih must have known  that her beliefs would ultimately lead to her death.  She had probably realised it years before.  Numerous other early Baha’is had been executed  (martyred), often in horribly painful and gruesome ways.  The Bab himself was executed in 1850.  At any point she could have saved her own life by renouncing her beliefs, or possibly even by agreeing to stop teaching, and to quietly return to her father’s house.  Táhirih made the conscious decision that her beliefs were more important than her life or comfort.

Sometime between the 16th and 27th of August, in the dead of night Táhirih was taken from the house where she was imprisoned to a nearby garden and strangled with her own veil (also, possibly worse).  She had known beforehand that she would  be executed, and she dressed as if she were going to a wedding: as if the event was a celebration.  Her  last words were:

“You can kill me as soon as you like, but you cannot stop the emancipation of women.”

As much as I admire her as a feminist hero, the message that I take away from  Táhirih’s life, every day, is that your values are  worth making sacrifices for.  If you truly believe in something, you have to be willing to stand by it, even when it’s unpopular, or uncomfortable.  She gave her life, so that her message could be better heard, adding to the chorus of women who helped to make the world a place where you and I could choose our  own path, in every way.

I am very privileged, and immensely grateful, to live in a time and place where my beliefs are unlikely to put my life in danger.  I’ll almost certainly never have to act on my convictions knowing that it will eventually result in my death.  But I can still make the world a better place, in small ways, by standing by my convictions, and giving up a little to help others.

Being willing to make sacrifices, big or small, to risk our health, wealth, comfort and safety in the name of what is right, is the best protection the world has against injustice.  We saw it in WWII, when a few brave people stood against all those who were willing to turn a blind eye, and said ‘This is not OK’ and risked, and sometimes sacrificed, their lives to save others.  We can do it today, when we refuse to mock and deride someone for their choices, even if it means we might be mocked and derided.  We can do it today, when we welcome people fleeing war torn countries, and try to give them a safe haven in ours.  We might be risking our own safety doing so, but we know we’ll be saving lives, and that knowledge should be enough.  Doing the right thing, even if we risk ourselves, is worth it.  Táhirih taught me that.

Though  Táhirih is one of my greatest heroes, I don’t have any immediate plans to make a garment inspired by her.  There aren’t enough resources on mid-19th century Persian fashion available in the West, and I wouldn’t want to make something if it wasn’t absolutely right.  I may one day make a  Táhirih outfit in a roundabout way though.  Sarah Bernhardt was fascinated by her story, and wanted to play her.  She asked a number of notable authors to write a play about  Táhirih’s life, but none eventuated.  Someday I may attempt the costume the Divine Sarah might have worn as Táhirih, had the play she wanted ever eventuated.

Wellington in Springtime, thedreamstress.com

The Tahirih Justice Centre, which provides legal, social, and medical services to women fleeing gender based violence and persecution, is named after Táhirih.

Rate the Dress: Mid-1880s ochre and gold

Last week’s 1850s homage to the 18th century attracted a few ardent admirers, a few vehement naysayers, and a lot of people who thought it was soooooo close to great….but not there (mostly because of the blue-green trim).  So it balanced out at 7.8 out of 10, which isn’t bad for a dress trying to carry SO many colours and design ideas.

I found I loved the dress if I just looked at it, but the minute I tried to inspect and analyse I found dozens of things I thought were awful.  I suspect that if I saw it at a party I still would have gone away remembering it as fabulous and lovely, because the overall impression of delight would outbalance all the little niggles.

Since last week’s dress was so very, very sweet, I felt that we need a palette cleanser: something entirely free of florals and frills and pastels.

I’d already settled on this ensemble when I realised the base colour was actually quite  similar to that of last weeks dress.  Despite this, the overall feel, at least to me, is very different:

According to the Met, this day ensemble was worn by Amelia Beard Hollenback (1844-1918), wife of a wealthy New York financier, and may have been inspired by Amelia’s travels in the American Southwest.

The dress certainly features a colour scheme and design aesthetic that sets it just outside the general  oeuvre of 1880s fashion, without making it conspicuously eccentric, or fitting it into any standard counter-culture of the period, such as the Aesthetic movement.

The Met believes that this dress would have been made by a very skilled, but unknown, high class Brooklyn dressmaker.

Certainly the fabric handling, cut, and finishing are all exceptionally well done.

One wonders how much input Amelia had into the dress, and how much was dictated by the dressmaker.

What do you think?  Just right for a middle aged society woman  to showcase a little individuality?

Rate the Dress on a Scale of 1 to 10

The Historical Sew Monthly Challenge #10: Heroes

I can’t believe it’s already almost October, time for the 10th Historical Sew Monthly challenge of the year, and time for me to be deciding (with lots of input from you, of course!) if there is going to be a HSF/M 2017!

The theme for October’s challenge is Heroes:  Make a garment inspired by your historical hero, or your historical costuming hero.

While I may be becoming more cynical in other ways, the older I get, the more I am a fan of having lots, and lots of heroes.  I just feel that you can never have too many people to admire and attempt to emulate the good qualities of.  In everything I do, whether it’s cooking, historical costuming, writing, teaching, or simply being a (reasonably) nice person, I do it better than I might have because someone, in some way, helped teach me to get to where I am: and each of those people  is a hero to me, and deserves acknowledgement.

So the idea behind the Heroes challenge was to give us all a change to honour and highlight some of our heroes: both historically, and in historical costuming.

I’ll be highlighting 5 of my historical heroes later in the week, but for now, here are some of my historical costuming heroes.

First, and very obviously, someone who I hope is a hero to many of you: Janet Arnold (or, as Lynne calls her Saint Janet).  Janet Arnold’s research and patterns are still the gold standard for historical costuming books.  Her books were the first pattern books I owned, and are still the first books I reach for when researching any era she covered.

Following just behind Arnold are Norah Waugh (the patterns!  The pages and pages of period mentions of garments!) and Nancy Bradfield (the eye for detail!)

How much poorer would the historical costuming world be without these women’s works?

There are also lots of living costumers, who are my heroes for the beautiful work they do, for how much they have influenced and improved my own costuming (and prevented me from so many mistakes) and for how much they have given to the costuming community.

I started to list them all, and the list got ridiculously long (and it’s even longer now that I’ve been to Costume College!), so I’ll limit myself to 7  (in roughly the order in which I encountered their work) and find an excuse for shout-outs to the other 57+ in future posts!:

  • Drea Leed of Elizabethan Costume was my first introduction to the wonderful world of online costuming: her  research and links dress diaries (in the early days of such things), along with Jen’s (below) gave me the confidence  to attempt an 1540s Flemish dress, and while I haven’t done much Elizabethan costuming since, I’m still hugely grateful for her efforts in making it accessible to beginner costumers.
  •  Jen Thompson of Festive Attyre  was equal parts responsible for my first historic costume, and her creations, research, and instructions have inspired me in so many eras ever since.
  • Kendra of Demode.  I’ve been following her blog/website for almost 15 years now, and her website and dress diaries were my first online stop for half a dozen of my projects.  I hugely admire  how some of her creations are very historical, and others are purely for fun and aesthetic, but all are beautifully made.
  • Lauren of Wearing History was the first historical costumer that I was aware of who made historical patterns available as print at home patterns, and for a costumer at the ‘end of the universe’, that made a huge difference.  (and she’s lovely and sweet and delightful too!)
  • Sarah of A Most Peculiar Mademoiselle makes everything that she creates, no matter how simple, with thought, and research, and precision.  Her work reminds to me find delight in small things, and that an outfit doesn’t have to be a frilly princess gown to be a thing of utter beauty.
  • Lynne doesn’t have a blog, but your probably recognise her name from all the comments and encouragement she leaves on mine, and the HSF facebook page, and countless other blogs.  Lynne is my hero for showing how much you can help create a costume, even if you aren’t there to  do any of the physical work.  I feel the world is a little bit better every time I see one of her comments!
  • Miriam of In My Lady’s Chamber  does the most impeccable research, and her eye for detail is fantastic, as is her  ability to apply it within a wider context.

Because I’m a fan of so many heroes, I don’t expect any of them to be perfect in every  way.  I can assemble a full set of virtues and admirable attributes, without putting the burden of absolute perfection on anyone.

Historical figures are my heroes for their actions in certain situations, but rarely would I try to act like them in every way, or say that everything they did is worthy of respect.

Many  modern historical costumers inspire me, but I don’t need to copy everything they do to see them as a hero.  Being inspired by them doesn’t mean I try to make exact replicas of the things they do: it means I  take their amazing work, and try to apply the research, or tutorials, or philosophy, to mine, in order to create a better item.

So here is to all the people, published, and not; living or gone; famous or just quietly, secretly, fabulous; who have helped to make our costumes bigger, better, more beautiful, and more accurate!  Let’s take this opportunity to make an item that honours them, and their contribution to our work.

Janet Arnold's Patterns of Fashion books