Here’s a 500-word summary of the talk by Chloe Middleton-Metcalfe on Considering Morris Dance Costumes as English National Dress, held on Zoom on 6 November 2021 and organised by the Morris Federation:

Chloe Middleton-Metcalfe’s talk explored the concept of morris dance costumes as a form of English national dress, addressing the broader question of why England lacks a defined national costume. She highlighted historical and political reasons for this absence, contrasting England’s institutional nationalism with the cultural nationalism of its Celtic neighbours. Wales, for example, embraced a distinct national dress in the 19th century, linked to folk traditions and tourism. Sweden’s national costume, officially adopted in 1983, was another example of a deliberately constructed national dress.

Middleton-Metcalfe discussed the role of national dress in shaping identity, referencing historian Lou Taylor’s categorisation of national costume into politically driven, culturally revived, and commodified forms. She argued that the adoption of national dress is a social and political choice rather than an inevitable outcome of tradition.

She then examined the historical evolution of morris dance costume, particularly during the first English folk revival of the early 20th century. This period saw debates between Cecil Sharp and Mary Neal over how folk dances should be performed and what dancers should wear. Neal, through the Esperance Club, favoured a romanticised rural aesthetic for women, referencing 19th-century working-class clothing, while Sharp promoted a simplified, modern costume for men, based on sports attire like cricket whites. His choices reflected a middle-class, institutional vision of English identity, aligning morris dancing with notions of athleticism rather than peasant tradition.

The discussion then moved to the English Folk Dance Society’s (EFDS) evolving approach to costumes. Women’s festival dress, introduced in the 1920s, faced criticism for being too uniform and synthetic. Attempts at standardising female dancewear continued into the 1960s, culminating in the widely recognised outfit of a white blouse, black waistcoat, and a brightly coloured circle skirt. However, the availability of mass-produced clothing and declining sewing skills in the late 20th century influenced costume choices, with many teams opting for easily sourced or modified garments.

For men, breaches and flannels dominated, though materials changed over time from high-quality wool to cheaper synthetic fabrics. In the post-war period, practical concerns, such as the need for quick costume changes in multi-dance performances, further influenced clothing decisions.

The talk also addressed the rise of border morris and its association with an alternative, sometimes pagan-influenced, expression of English identity. The prevalence of rag jackets and red-and-black colour schemes, particularly inspired by the Shropshire Bedlams, reflected a shift towards a looser, more individualistic costume tradition. This was in contrast to the more standardised outfits of earlier Cotswold morris teams.

Middleton-Metcalfe concluded by questioning whether morris dance costume could ever serve as an English national dress. While it provides a recognisable, if sometimes parodic, option, the absence of a strong political or cultural movement to formalise a national costume means that England is unlikely to adopt one. She suggested that only a major political shift, such as the fracturing of the United Kingdom, might reignite interest in defining English dress. The discussion ended with a Q&A session, covering topics such as historical costume variations, material choices, and the influence of contemporary dance trends.