History

Horses have been closely connected with coal mining since the early days of the industry.  They have been used to transport coal from the collieries to the customer, have been used to power winding and pumping engines and, most importantly to move coal from the coalface to the shaft.

In 1878 the RSPCA calculated that there were over 200,000 horses at work in British mines. The numbers decreased as mechanisation became more common, but they continued to be used throughout the twentieth century. The last Welsh colliery horse was probably Robbie who retired from Pant y Gasseg Mine in 1999.

Most commonly known as ‘pit ponies’ by the general public but Welsh colliery horses were usually around 15 hands high – the same size as Henry VIII’s warhorses.  It is often claimed that they went blind, but a blind horse would not have been very useful underground and any animal which did lose its sight was usually brought to the surface as soon as possible.

Although they were essential for the production of coal before introduction mechanised haulage, use horses in industry has often been highly controversial. The owners argued that vital economic process winning while animal lovers regarded their as inhuman.

In between these opposing sides were the mineworkers, who may have felt sympathy for these animals. However, they could turn a blind eye to any callousness, or even be cruel themselves, if their pay packets were under threat.

Welsh colliery horses were usually around 15 hands high and males, mostly geldings but some stallions were kept.  The majority were of the Welsh Cob type but larger horses such as Shires and imported Belgian horses were also kept, especially on the surface or in main haulage roads. When stocks of horses were low, they could be obtained from as far away as America and Russia.  Smaller ponies, around 13 hands, were sometimes used for light haulage duties.

They had to be at least 4 years old before being accepted into colliery work. In 1893, the average life expectancy of a horse was between eight and nine years, with around 6% killed in accidents. By 1950s this risen ten fifteen although there were some on ‘light jobs’ still employment over twenty age.

By the 1930s, most horses worked between forty-five and sixty hours a week. After 1949 the maximum working hours were to be not more than forty-eight hours, and no more than seven shifts, per week.  They were also entitled to the same twenty-minute break as the men.

In 1938, colliers were entitled to an annual week’s paid holiday and the horses were usually allowed above ground as well. By 1948 both the colliers and horses got a two-week annual holiday.

By 1878, the RSPCA estimated that there were around 200,000 horses working in British mines.  By 1913 this had decreased to 70,000, because of improved mechanical haulage methods. In 1930 it was reported that 25 Welsh collieries had no horses at all. In 1947 there were some 8,000 Welsh colliery horses, by 1967 there were only 417. By the 1980s National Coal Board horses were being retired but, in smaller, ‘private mines’ horses were in use for a few years to come.

The last Welsh colliery horses, ‘Gremlin’ and ‘Robbie’ retired from Pant y Gasseg (‘Horses’ Hollow’) Mine, Pontypool, in 1999. They were sent to a RSPCA rest home in Milton Keynes, but Robbie found that boring and was loaned to the National Coal Mining Museum for England in Wakefield where he pulled light tubs of visitors around the site.  Robbie died on the 27^th April 2009, probably the last working Welsh colliery horse.

For many visitors to Big Pit, the most memorable parts are the underground and surface stables, still bearing the names of the horses that worked there. By the start of the 20^th century, there were around 300 horses working in Blaenafon coal mines with 72 working in Big Pit alone.

The last underground horse at Big Pit was brought up in 1972, but two horses continued to work on the surface until 1974.

Whether he was a ‘willing pet’ or ‘wretched pit pony’ the colliery horse shared the same conditions and dangers as the coalminer. They died in their hundreds from mistreatment, accident and explosion. We owe them a great deal, including the success of the industrial revolution.

Miniature hats from 1860’s by Welsh hatter, John Evans. The Welsh Hat is in middle row, centre.

        Hats are often political. Though it would be understandable for someone to assume that they are made to protect someone from inclement weather, it does not take a lot of thought to see that they are often much more. From a red ‘Make America Great Again’ baseball cap, to the bonnet rouge of the French Revolution, to any number of military hats, hats are regularly used to indicate which side you are on.  Hats, along with all fashion, are used in a huge variety of ways to communicate with others and can tell us a variety of information: nationality, gender, interests, and identity. The hat specifically is often associated with group identity; in a crowd of people the hat can be a key identifier and if worn collectively can create a striking vision. The Welsh Hat does just this, its tall black crown and stiff brim, traditionally worn by Welsh woman creates a distinct and eye-catching look that has long been used as a symbol of Welshness.

Before The Welsh Hat

There is a prevailing myth that the Welsh hat and national costume was a Victorian invention, as part of imagined Welsh heritage and yet there are plenty of accounts going back a century earlier that tell us otherwise. The Victorians may have curated a specific version of Welsh dress and cemented the idea of it as ‘Welsh National Costume’ but the clothes themselves, including the hat, had indeed been around for much longer.

Before the Welsh Hat was Welsh, it was just a hat. High crowned styled hats made of felt or beaver fur were once popular across many countries. Men and woman across Britain in the latter half of the Elizabethan period, wore such hats for travelling and riding, and a wider brimmed version of the hat, ‘cavalier style’, was then adopted by the middle class in the mid-part of the 17^th century. At this time hats were an important status symbol. Beaver fur was the quality material used to felt hats, but felting the fur was difficult and costly and from 1670, the product was often imported from America. Samuel Pepys notes in his diary, in 1661, that a beaver hat had cost him 45 shillings. From around 1640 to 1660 a version of the beaver hat with a tall, tapered crown known as a ‘sugarloaf’ became popular and looked very similar to what we would think of as the Welsh hat today. Today hats of this style are heavily associated with the Puritans and pilgrims to America, for its simple, unadorned design. Thus, even 400 years ago, the hat was steeped in meaning, from wealth and class, to political and religious leanings.

Us and Them

While the black Sugarloaf hat, along with other features that we today associate with Welsh National costume, were common across Europe and America in the 17^th century, it is in the 18^th century that we see a divergence in style. While elsewhere fashion trends moved on, these older looks appear to be retained by the Welsh peasantry. As fashion changed rapidly in the later half of the 18^th century, this rejection of the new styles (be it intentional or through financial necessity) resulted in a notable difference in dress by the Welsh lower classes, from their English counterparts. This is documented through numerous accounts of English travellers that commented on the difference in clothing between the English and Welsh, among which are descriptions of a tall black hat worn by women. 

Painting by Julius Caesar Ibbetson, Newcastle Emlyn Costumes, 1792

Julius Caesar Ibbetson was an English painter who created a number of works depicting scenes of Welsh life at the end of the 18^th century. Through these works, a distinct image of Welsh working-class women can be seen. The paintings depict an attire which is different from what was fashionable dress throughout Europe during the 1790s, and almost all the works include women wearing what we can think of as an early variation of the Welsh hat. 

In the work Newcastle Emlyn Costumes from 1792, all 14 women from the scene, as well as 2 children, are depicted wearing almost identical, black brimmed hats. While the hats may be shorter and less rigid from what we think of today as the Welsh hat, there is still a clear resemblance in style. In the inscription beneath the watercolour, Ibbetson writes “peculiar drefs and costume of the peasantry, in the district around Newcastle Emlyn in Pembrokeshire.” Here the English painter highlights that to him, the dress of women in Wales is distinctly different “peculiar” from English standards of dress. These outfits also have clear similarities to what one would think of as the Welsh national costume today, with their striped and checked patterns, and their shawls and aprons. In addition to its distinctive look, what is remarkable is the hats uniformity across all the wearers. At this time there was a large variety of styles in hats, bonnets, caps, turbans, hair accessories, wigs and hair styles and a huge choice in frippery to be added including flowers, ribbons and feathers. However in the works of Ibbetson, we see a singular black and unadorned style.

The striking uniformity of the Welsh dress was not lost on the Welsh, rather it became a strategic symbol of collective power. Famously it is even said to have helped defeat invading military powers. In 1797, French warships descended on Pembrokeshire in what is known as the Battle of Fishguard. Numerous reports document how hundreds of Welsh women in red shawls and black beaver hats, flanked the coastline behind the British military; creating the illusion from afar that they too were soldiers, and so leading to the unconditional surrender of the invading force. Thus the Welsh national dress as a symbol of strength and unity, and part of proud Welsh heritage, was embedded into the nation’s history.

National Costume

1931 Postcard reproductions of "Dull-wisgoedd Cymru/Cambrian Costumes" by Lady Llanover in 1834 (cropped)

Lady Llanover (1802 to 1896) was the influential philanthropist who greatly influenced the uptake of traditional Welsh dress and worked tirelessly to promote Welsh language and culture. She wrote extensively on the matters of Welsh costume, as well as producing a series of illustrations on the subject and it is from her that we get the tradition of wearing the national costume on St David’s Day.  While Lady Llanover certainly did not invent the Welsh national dress, she worked hard to bring it from the confines of the working class, into upper class society, even so far as to insist that guests to her parties were to wear the national costume.

In 1832 the then Princess Victoria (not yet queen) and her mother visited North Wales and on their carriage ride wore Welsh hats, when passing through Bangor ‘in compliment to the fair maids of Cambria'. Thus by this point we can see the complete transition from the traditional working wear of the peasantry, to the fashionable National costume for all classes. It is in that century then, that the hat and national dress becomes smart formal wear. Women chose to wear their best costume when selling their goods at market, as well as on Sunday to Church and Chapel. Throughout the 19^th century, many Eisteddfod competitions would even have a prize for best Welsh hat. In this century, the Welsh hat has become a point of national pride. The 19^th century writer, Marie Trevelyan, writes in an account of West Wales in 1893,“There the tall beaver hat is still worn by some of the prettiest and most handsome woman of the principality. Very spick and span these woman look”.

It is hard to pinpoint when the Welsh hat fell out of authentic regular use, due to the tremendous popularity of the image of the ‘Welsh Lady’. By the mid 19^th and 20^th century there was a transition from genuine regular attire, to a costume of Welshness for public events and in the tourism trade. The Image of Welsh National Dress became a prolific theme in postcards, souvenirs, and tourism in the Welsh seaside towns. Thus people continued to wear the Welsh Hat but its meaning had once again shifted.

A Hat For Everyone

 Throughout the centuries, the use of the Welsh hat, like a swinging pendulum, shifted backwards and forwards in style from peasantry to royalty. Class was not the only cultural boundary that the hat crossed. The hat has also defied the boundaries of gendered clothing. During the 17^th and 18^th century, this style of hat was largely considered to be a man’s hat, socially acceptable for women only in the context of riding and traveling (acts which themselves were often seen as male activities) and yet in Wales, this binary was seemingly being ignored. In the 18^th century, there were many English accounts of Welsh women described dressing in a ‘peculiar’ manner, and stating that they wore ‘men’s hats’. Mary Yorke, a traveler to Wales in 1774, attended a service at St David’s Cathedral and noted seeing an old woman with a “kerchief over her head and a hat like a man’s”. Despite this, during the following 19^th and 20^th century, the Welsh hat had become an item strongly associated with Welsh womanhood. 

Despite the Welsh hats’ tradition as a piece of Welsh women’s clothing, more and more it is a piece which defies the binary, with contemporary queer artists in particular using the hat in their work as a national symbol, that can be worn by anyone. Thus, the hat that likely originated as a man’s hat in the 17^th century, and was subsequently adopted by women, once again alludes a gender binary in its wearers today.  And so as the pendulum of fashion swings from one end of the spectrum to the other, so today we see it starting to swing back.

This dynamic relationship between the Welsh, clothing, and gender is nothing new. In the 1800’s, girls who worked in the mines dressed in boys clothing, including trousers, to be able to crawl through the mines. While the infamous Rebecca Riots saw men dressed in women’s clothing in violent protest, and as mentioned previously, Welsh women were mistaken as British military at the Battle of Fishguard. The Hat itself is in many ways is an androgynous item, its smooth black and angular features are much closer to many typical male items of dress such as a suit and top-hat, then much traditional female attire. Its angular features often sit juxtaposed with the frilly and lacy white cap underneath. This is perhaps partly why it makes for such an interesting subject for many queer artists today.

Photograph of performers from the Contemporary Dance group Qwerin. Photograph credited to Sioned Birchall.

In the contemporary dance performance group Qwerin, directed and choreographed by Osian Meilir, performers fuse traditional Welsh folk dance with the energy of the queer nightlife. The performers wear an adapted form of the national dress, complete with exaggeratedly large Welsh hats, which hang over and obscure much of the performers face, leaving them to peer out through cut out holes in the crown of the hat. These costumes, designed by Becky Davies, tell a striking visual story. In a quote from Meilir on the performance they say:

“The hat creates a looming presence, making our appearance sinister and mysterious. The hats, a symbol of Welsh culture, become the very things that restricts us from physically moving forward into more vigorous and joyful dancing. By removing these hats we shed away the years of shame, burden and oppression, cutting ties with social expectations and constrictions. However, reuniting and greeting the hats towards end of the work is an act of acceptance, an acceptance of our own identity. We welcome these hats back into our arms as a symbol of progression, unity, harmony and change; moving together into a new future, a queer Wales.”

In other words, the hat has become a symbol of an old Welsh Culture, but a symbol that rather than being allowed to slip away, can be reinvigorated with the zeitgeist of a new era of Welsh identity.

The Psychology of Hats

The Hat sits in a prominent position on the wearer, it frames the face and is often seen in the peripheries of the wearer’s view. This means they can become powerful tools in the way we view ourselves. The Fashion editor and prolific hat wearer Isabella Blow said on the subject of hats"Fashion is a vampiric thing, it's the hoover on your brain. That's why I wear the hats, to keep everyone away from me.” Blow touches on the sometimes oppressive societal demands of fashion and conformity and how it can play on the mind; as an antidote to this, the hat performs the role of a mental and physical shield. The brimmed hat creates and demands a physical distance between people, while psychologically doing the same, creating a distinct difference between wearer and non-wearer. In essence, a hat has the potential to create a sense of separation and independent identity between the wearer and the other. This may provide some insight into the success of the Welsh hat, like a protective shield, it symbolises the protection of one’s Welsh culture and heritage.

 Finally In another quote from Blow, the intrinsic sense of identity associated with the hat is reinforced. “I don't use a hat as a prop, I use it as a part of me. If I am feeling really low, I go and see Philip (Treacy), cover my face, and feel fantastic”.  Thus how one dresses effects not just how others view you, but how we view and feel about ourselves. If clothing is an extension of ourselves, then loving the clothing we wear has the potential to help us view ourselves differently. For the Welsh hat it can be a symbol of strength, nationality, and pride. For wearers of the Welsh Hat today, whether it be a St David’s Day celebration, as part of dance costume, at Eisteddfod, or just for fun, allow wearing the Hat to help you feel fantastic and to connect you with 400 years of history and Welsh heritage.

Reference / Further Reading

• British Vogue, Isabella Blow, Bibby Sowray. 4 November (2011)

• Folk life, Welsh Peasant Costume, F. G. Payne. volume II (1964) 

• Textile history, Welsh peasant dress-workwear or national costume?, Christine Stevens. 33 (I) (2002)

• The costume accessories series, Hats, Fiona Clark. (1982)

• Welsh Costume, Ken Ethridge. (1958)

• Women in Welsh History, Derek Draisey.(2004)

• Women's Headdress and Hairstyles in England from A.D.600 to the Present Day, Georgine de Courtais.(1986)

Web links

• https://www.osianmeilir.com/qwerin

• BBC Two - Welsh Icons, The Welsh hat in history

• Welsh Costume / Gwisg Gymreig | Welsh costume – descriptions, illustrations, surviving examples, 1700-1950 (wordpress.com)