
Guest Blogger Dr Sophie Nield teaches in the Drama Department at Royal Holloway, University of London, and has been researching in the TUC Library for her project, ‘Staging Labour’. Here, she draws on the Gertrude Tuckwell Collection to explore the history of Sweated Industries Exhibitions, and how they enabled working women to advance their fight for better conditions and the right to unionise. Her essay, ‘Theatricality and the staging of labour: the Daily News Sweated Industries’ Exhibition of 1906′ is in the May 2025 issue of Nineteenth Century Theatre and Film, and is also available open access at: https://journals.sagepub.com/doi/10.1177/17483727251318623
Gertrude Tuckwell (1861 – 1951) was active across a range of pioneering labour, trade union and public health causes. She campaigned extensively on many issues to do with women’s labour and health, authoring several important books and essays including ‘A seventeen hours’ working day’ (1899); Industrial Work and Industrial Laws (1903), The State and its Children (1894), and (with Constance Smith) The Worker’s Handbook (1908). Her papers are deposited at the TUC Library, and comprise some 700 folders of reports, pamphlets, leaflets and press cuttings, accumulated in the course of her life and work.
This blog draws on those materials to explore the Daily News Sweated Industries’ Exhibition of 1906, one of a series of public Exhibitions that took place over approximately ten years. These Exhibitions not only publicised the appalling working conditions of women in ‘sweated’ work; they also invited the women themselves to ‘perform’ their labour in the hearts of cities, towns – and even, in 1907, the House of Commons itself. Through the staging of their labour, the Exhibitions revealed hidden relations of class and exploitation, and created conditions for working women to be visible in the public sphere – not just as objects of the spectator’s gaze, but as political subjects in their own right.
What was sweating?
As the manufacturing of goods became increasingly concentrated in factories, a sweated workforce grew up alongside it; a workforce based in the home, or in domestic workshops, to whom goods were outsourced for ‘finishing’. These workers were situated at the end of a long chain of subcontracting, and far out of reach of any of the legislation that was gradually impacting and improving the conditions of work in factories. Their daily toil was typified by piece-work, long hours, appallingly low levels of pay, and squalid and unhygienic conditions, which encouraged the spread of disease.

Sweated home work was not by any means undertaken exclusively by women, but as a consequence of the industrialisation of traditionally male trades into factory and other environments, it was work which was widely undertaken by them, often assisted by their children. For some, it would be a means of supplementing the low wages of a husband in employment: often, the women were widows, or supporting men who were incapacitated, unemployed or unable to find work in casualised and unskilled trades such as labouring or dock work.
A typical account is given by Edith Hogg of the Women’s Industrial Council, who wrote in 1897 of the experience of fur pullers. She described the ‘joyless days and months and years, passed in ceaseless and repulsive toil, with the reward of starvation wages’. Fur pulling was indeed a foul employment, in which workers removed the hair from rabbit skins in unventilated rooms, where the air was thick with fluff. A fur puller was able to do ‘a turn and a half’ in twelve hours, with one turn comprising sixty skins. They were paid eleven pence a turn, which yielded a wage of one shilling and two pence for twelve hours of work. Hogg wrote of them that, ‘they belong one and all to that most pitiful, most helpless, most hopeless class which is produced by modern industrial conditions – those who acquiesce in starvation of body and soul as the state of life in which they were born, out of which they can never rise, in which they are doomed to die’.
Workers were scattered, and therefore hard to organise into trade unions, which might have offered some protection from the worst of the conditions. This exclusion was exacerbated, of course, by the tensions within the wider trade union movement over women’s work itself, which was perceived to undercut men’s rates of pay. In his 1888 Report on conditions in the nail and chain making industries, John Burnett noted that the men ‘seem to feel that the cheaper labour of their wives and daughters is forcing them to lower and lower wages, while on the other, their earnings are so minimally low… that they fear to give up the few shillings which the female workers add to the family income. They are between the devil of cheap labour competition and the deep sea of family poverty’.
The anti-sweating campaigns and the Exhibitions
Far from being a practice limited to particular trades or districts, it became clear that sweated labour was endemic to every industry in the country. The social evils of sweating became central to a series of interconnected agendas and campaigns within the wider labour movement, including campaigns for the extension of the franchise to women and working-class men, education, housing and sanitation, trade union rights, and struggles for a minimum wage. The Board of Trade received a report on sweating in the East End in 1887; the House of Lords Select Committee on the Sweating System heard evidence throughout 1888 and reported in 1889, and the Royal Commission on Labour (Employment of Women) reported in 1894.

Yet despite all these, by 1906 it seemed that very little was being done practically to alleviate any of these conditions. For this reason, it was decided to stage an Exhibition of the Sweated Industries in the heart of the West End of London, transplanting impoverished workers into the wealthy leisure district of the capital to stage aspects of their experience there for a wide audience to encounter.
Over the following decade, more than fifty similar events would be staged across the country, from the great industrial centres of Manchester (1906), Birmingham (1907), Glasgow (1913), and Dundee (1913), to regional, rural and suburban locations such as Oxford (1907), Bristol (1908), Hayward’s Heath (1912), Worcester, Weston-super- Mare and Eastbourne (1913).
The Daily News Sweated Industries Exhibition London opened at the Queen’s Hall, Regent Street, on 2 May 1906, and ran for six weeks, welcoming upwards of thirty thousand visitors during its run.

The planning for the event drew together important figures from the nascent labour movement, the women’s trade union movement, suffrage campaigns, journalism and charity work. It was sponsored by the Daily News, a liberal-leaning newspaper whose proprietor was the chocolate manufacturer and philanthropist George Cadbury. The paper’s editor, A. G. Gardiner, chaired the organising committee, and the project was led by Richard Mudie-Smith. Among others, the executive included Clementina Black, Mrs Despard, George Lansbury, Mary Macarthur, Mrs. Ramsay Macdonald, Gertrude Tuckwell, Rev. J. A. Watts-Ditchfield, J. J. Mallon Keir Hardie MP, Mrs Pethick Lawrence, George Bernard Shaw and H. G.Wells.
The spacious Hall contained some four hundred and fifty sweated artefacts, ranged, according to R. B. Suthers of the Clarion, in ‘neat, varnished stalls displaying goods, as it might have been at a fancy fair or bazaar’. Most notably, the Exhibition also presented forty-five workers at twenty-five stalls arranged down the centre of the hall. These workers were engaged in their trades, including vamp beading, vest-making, shirt-finishing, bible-binding, flower-making, hook and eye carding, boot finishing, brush-making, box-folding, and making toys, luxury goods and coffin tassels. Alongside each of the participants was a card, containing information about their working lives, their personal circumstances and the amount they received for the products of their labour.
Worker no. 17 demonstrated brush drawing. The woman was a widow, who had worked at the trade for fifty-seven years, beginning when she was six years old. Her rate of pay was six shillings and five pence per thousand holes, and it took a little over four hours to do a thousand. Her average weekly earnings was six shillings, her weekly rent for one room was two shillings, and she lost seven and a half hours per week fetching and returning work to the manufacturer.
Worker no.5 was a hook and eye carder, whose work involved firststitching ‘eyes’ to a card, then linking a ‘hook’ to each eye, and finally stitching the hook on to the card as well. Her pay was nine pence for a pack of two dozen gross hooks and eyes: in other words, a gross of completed cards, with two dozen hooks and eyes on each. This meant three hundred and eighty-four hooks and three hundred and eighty-four eyes were to be linked and stitched on to a card for the sum of one penny.
Worker no. 19 worked fourteen hours a day and earned on average six shillings a week as a vamp beader, sewing tiny beads onto ladies’ shoes . Pay was between one shilling and seven pence to two shillings and sixpence per dozen pairs of shoes; the work was highly skilled, as each bead had to be stitched separately by hand.
An artificial flower-maker, a woman with an invalid husband, worked fourteen hours a day for ten shillings a week. She would sometimes supplement her income by making mourning flowers, little black wreaths of flowers known as ‘ragged roses’, and, as the Manchester Evening News explained, her ‘half-blind husband will rise from his bed… and dispose of them at a mourning warehouse for threepence halfpenny per complete spray’. The warehouseman would then mark the sprays for sale at between sixpence and nine pence.

Equally shocking statistics were provided for the other workers too, and all of these details were reproduced in the Exhibition Handbook, which also contained contextualising essays by members of the Exhibition committee, and notable social commentators and campaigners. A lecture programme of prominent speakers, including Gertrude Tuckwell, Ramsay MacDonald, George Lansbury and George Bernard Shaw, accompanied the event, alongside a series of documentary photographs of the women at work in their sordid and insanitary domestic environments. In the Handbook, Gertrude Tuckwell wrote of the ‘squalid room’ that a Miss Vine, HM Inspector of Factories, had visited in 1904: ‘one room has to serve the manifold use of bathroom, laundry, drying ground, scullery, bedroom, living room, sick room, workshop and, it may be, mortuary as well’.
Outcomes and impacts
The Exhibition might have attempted to restage these environments – indeed, it was criticised in some quarters for not doing so – but by choosing not to create an immersive, vicarious spectacle for its audiences, I think that it created a much more significant set of impacts.
First of all, the Exhibitions, by bringing together women engaged in a number of separate industries, made clear the endemic nature of sweating, and inspired political and industrial change. In a sense, what was being put on display was the system of exploitation itself – and the audience were implicated in its oppressive work not merely as spectators, but also as consumers. As Gertrude Tuckwell wrote: ‘The time was when people hugged themselves in the delusion that the condition of things was caused by the introduction of middle-men who doled out the work and consumed the profits. This idea has been discredited – we find that… the sweater is in fact ourselves’.
Manufacturers who claimed that they had been unaware of the conditions of labour were shamed into recognising the actual circumstances in which their out-workers lived and worked. The Ilford Exhibition Handbook of 1908 records that, ‘it is gratifying to learn than as a result of the (Bristol) exhibition some of the local manufacturers made concessions to their workpeople. The boot worker, who is at present working in this (Ilford) exhibition, had the rate of payment raised threepence per dozen boots as a result of the influence exerted by the exhibition’.
The 1909 report of the Anti-Sweating League noted that: ‘The Executive Committee have been gratified to learn that in particular districts their propaganda has caused employers to voluntarily improve wages. The makers of Rounder Boots at Kingswood, nr. Bristol, received an increase when the Bristol Exhibition called attention to this trade and the enquiry of the Leicester Branch in to the wages of glove workers has caused employers to increase their piece rates by twenty-five per cent’.
Campaigning work continued: in the wake of the 1906 Exhibition, the all-party National Anti-Sweating League was formed, led by James Joseph (J. J.) Mallon, economist, political campaigner and Warden of Toynbee Hall in the East End of London. A further Parliamentary Select Committee on Home Work reported in 1908, the same year that the Sweated Industries Bill was presented to Parliament.
The second outcome of the Exhibitions was perhaps even more significant. Working class women, whose exploitation happened far from the public gaze, were able to appear in public space and represent their own experience.In the London Exhibition, the lecture programme included a talk by ‘One of the Sweated’. A letter entitled ‘De Profundis’ headed the Worker’s Section in the handbook, and was written by an ex-machinist. The Evening Standard, reporting an exhibition in High Wycombe in 1913, observed that ‘Workers were shown at their various occupations. Some were making matchboxes at the rate of five shillings and four pence per gross; others busy stitching boys’ knickers at the rate of nine shillings a dozen, a dozen taking six hours to sew’. The South Wales Argus on April 29 1914 related that ‘some (of the women at an Exhibition in Newport) will describe the conditions of their industry and relate this experience’. Workers were invited to give evidence to Select Committees and to participate in delegations and campaigns to formally empower them as citizens and voters. As Sheila Blackburn notes, ‘Sweated workers were no longer represented as they had been in the popular press, painting and plays of the past, as uncomplaining and inert victims; they were active participants in a dynamic living spectacle’.
The newspapers made efforts to capture the voices of the sweated women. In the Morning Post on 27 May 1906 the following exchange appeared: ‘Are you engaged in this work all year round?’ asked one lady of a dejected-looking woman engaged in making strawberry baskets. ‘Only when I can get it, mum,’ she answered with a sigh, adding ‘I get three shillings a gross for these, and find my own materials, which costs me one and nine, mum’. ‘That only leaves one shilling and threepence for yourself’. ‘Yes, mum, and I have three little children to keep’. ‘Dear me, it is terrible’ remarked the visitor as she turned to the next stall’. Not all of the reported exchanges are as pathetic: the mordant wit of some of the women was also featured in the coverage. The Daily News on 3 May 1906 featured an overheard snippet of conversation between a visitor and a participant: ‘how do you spend your money?’ asked the visitor. The woman replied: ‘I put it in the building society. I’ve just bought one house and I’m going in for another’.
While the women did remain anonymous, there was a practical motive: to avoid any repercussions or victimisation that they might experience from employers. The Daily News indemnified the women from ‘the possibilities of action against them which may result in loss of work’ , and it is clear that the workers were not to be treated as either exhibits, or charity cases.A clear directive was given at the event that ‘the Workers are forbidden to accept any gratuities’, The participants were paid to be there, and at later exhibitions, were accommodated appropriately and taken on tours of the sights of the various towns which staged the displays.
The continued participation of the women in both the London Exhibition, and the ones which followed, cannot but read as a demonstration of their active engagement. Most importantly, they were there, not as individuated victims of circumstance, but as collective members of an increasingly vocal and self-determining class. Trade union membership and organisation among the workers increased. The 1912 Report recorded that successes on the part of chain makers in re-negotiating conditions had inspired hollow-ware and brick workers to enrol in large numbers in the National Federation of Women Workers, and, furthermore, some employers had voluntarily conceded minimum piece work prices in the hope of avoiding the creation of a Trade Board.
Clearly, this is not to claim all this as a direct consequence of a series of public Exhibitions. But as part of a wider trajectory in which working women (and working men) were struggling to be recognised by the state as political subjects, the Exhibitions contributed to this progress through the theatrical tactic of staging working class experience in the public sphere, and creating space for working women to speak as, and for, themselves.
Suggestions for further reading:
Blackburn, Sheila, A Fair Day’s Pay for a Fair Day’s Work? Sweated labour and the Origin of Minimum Wage Legislation in Britain Hants: Ashgate, 2007
Hunealt, Kristina, Difficult Subjects: Working Women and Visual Culture, Britain 1880 – 1914,
Hants: Ashgate, 2002
Mudie-Smith, Richard (ed) Sweated Industries: Being a Handbook of the “Daily News” Exhibition, London: Daily News, 1906
Nield, Sophie, ‘Theatricality and the staging of labour: the Daily News Sweated Industries’ Exhibition of 1906′, in Nineteenth Century Theatre and Film, May 2025 https://journals.sagepub.com/doi/10.1177/17483727251318623
Schmiechen, James A. Sweated Industries and Sweated Labour: The London Clothing Trade 1860 – 1914, London: Croom Helm, 1984
Stewart, Margaret and Leslie Hunter, The Needle is Threaded: The History of an Industry
Southampton: Millbrook Press, and the National Union of Tailors and Garment Workers, 1964


























