The Changing Auto Museum

In a recent Jalopnik article, auto journalist Michael Sullivan bemoaned the recent closings of several prominent automotive museums. Sean Mathis, author of a weekly automotive museum guide, also discussed the number of auto museums – over 50 – that have been forced to shutter over the past few years. Both sources cite many of the same circumstances that compel an auto museum to close its doors. The first is the death of the museum’s founder. Museums that begin as an individual’s personal collection often have few provisions once the owner passes; consequently, the automobiles are donated to other museums or sold off. In addition, many museums are still feeling the consequences of the pandemic; cars and museum space still needed to be maintained despite the absence of paying visitors, emptying the bank account of more than one institution. However, after visiting 25 museums in preparation for my current project, I have come to the conclusion that there is another cause for closure that is not often addressed. And that is the inability of many automotive museums to adapt to a changing and more diverse visitor base. 

Walter P. Chrysler Museum, closed in 2012

The museums that close are often those that display cars and not much else. They were originally developed to appeal to a specific customer, a white, male gearhead who spent his youth wrenching on and driving fast cars. For men of this generation, the cars were enough. Rows and rows of automobiles, accompanied only by specs and a little history, satisfied the man who could create his own stories about the vehicles on display. However, today’s youth does not have same connection to cars as their predecessors. A placard full of vehicle statistics holds little appeal. Without relevance to their own lives, the auto museum becomes a place that perhaps holds their father’s memories, but not their own. As a large proportion of car museum visitors are middle-aged or over, their numbers will not be replaced by young men as their population dwindles.

Kids interactive display – Sloan Museum of Discovery

I recently attended the National Association of Automobile Museums [NAAM] annual conference, and many of the presentations addressed the issue of how to make automobile museums more appealing to the non-car enthusiast, particularly to members of under-represented groups. An interesting statistic mentioned was one focused on female museum visitors. In terms of general museums, women outnumber male visitors by a large margin, approximately 62% female to 38% male. However automobile museums are a notable exception, where men make up nearly 66% of visitors. While women now purchase nearly half of new cars in the US, and hold the majority of driver’s licenses, their historical representation in museum narratives has been limited, leading to a visitor base that heavily favors [oldish] men. As noted by Motorious writer Steven Symes, “most car museums cater to older folk and they do so with zero apologies. […] By appealing to a narrow demographic, they’re actually hurting themselves.” The continuing closing of automobile museums would certainly substantiate this sentiment.

Chicana lowriders – California Automobile Museum

But fortunately, museum practices are beginning to change. Auto museums that expand beyond cars to include the social influences of the automobile are more likely to attract a more diversified visitor base. These museums have successfully implemented strategies to expand their audiences by moving beyond traditional mechanical displays to focus on culture, families, and historically underrepresented narratives. By incorporating exhibits that appeal to women, kids, minority groups and other non-old-white-male populations, museums not only have a better chance of survival, but can – most importantly – assure that auto history isn’t lost to future generations. Replacing endless lists of automotive statistics with car stories and histories that have relevance to all visitors, and incorporating docents and guides who are younger and not-always-male could go a long way to attracting a more engaged visitor base.

She Drives exhibit – Automotive Hall of Fame

It is certainly disheartening to witness the closing of so many longstanding automobile museums across the US. But perhaps the era of traditional car museums will eventually be replaced by institutions that serve not just a particular segment of car geeks, but all drivers and lovers of automobiles.

NAAM Annual Conference

Last week I had the pleasure of attending the 2026 National Association of Automotive Museums [NAAM] Annual Conference and Awards Banquet at America’s Packard Museum in Dayton, Ohio. Given my research interests, I had originally planned to attend one day to attend a session on women in motorsports. However, as president of the Society of Automotive Historians, I was invited by the Packard director Rob Signom to attend the entire conference. It turned out to be a great experience as I sat in on many informative sessions, networked with folks from the transportation museum community, received some inspiration for my book manuscript, took part in field trips to a number of transportation-related museums and sites, as well as having the opportunity to spread the word about the SAH.

Social Media Presentation [photo courtesy of Sean Matthis]

The four days were jammed-packed with activities. The sessions covered topics such as using social media to engage and attract younger museum audiences, obtaining grants to fund special programs and incentives, achieving best practices for archival accumulation and storage, the challenges of creating changing and relevant exhibits with automobiles, as well as the aforementioned session that focused on incorporating women’s motorsports into museum exhibits. Field trips to the National Museum of the United States Air Force, Carillon Historical Park, Champaign Aviation Museum, personal automotive collections, and an experiential environments design firm were also part of the conference.

Thursday evening featured the presentation of NAAMY Awards, which honor achievements in curation, education, marketing, and collections management in nonprofit transportation museums across North America. During one evening a group of attendees [including my baseball-loving self] had the opportunity to attend a Dayton Dragons minor league ballgame, which was a complete blast.

From the Champaign Aviation Museum

Although I find social situations to be quite stressful, the NAAM folks were welcoming, helpful, and engaging. I was struck by the atmosphere of cooperation; all were eager to share information, artifacts, and resources with others. Not only did I personally connect with archivists willing to help with my book project, but I believe my attendance and participation will help strengthen the important relationship between the SAH and NAAM. And the baseball game was pretty awesome, too.

Trip to Marysville

The Wills Sainte Claire Auto Museum is a small museum located in the out-of-the-way city of Marysville, Michigan, separated from Canada by the St. Clair River. It is devoted to the history of C. Harold Wills and the automobile he created – the Wills Sainte Claire – and their impact on auto history and the city of Marysville. The small building holds 20 Sainte Claire automobiles – the largest collection in the world – as well as original photos, color advertising, and other artifacts relating to the company’s brief history. The automobiles on display are include ‘survivors’ as well many that are impeccably restored. The museum is only open one Sunday afternoon a month; our visit included a short video as well as peek behind the scenes into the museum’s storage facility.

Wills Sainte Claire workers, which included women

C. Harold Wills was Henry Ford’s first employee. He served as chief designer and metallurgist; he was responsible for the design of the Ford script logo, still in use today. Wills desperately wanted to make changes at Ford; unable to do so he left the company – with his $1.5 million severance pay – to build a car in Marysville along the banks of the St. Clair River. His plans also included a housing development  – the “City of Contented Living” – for Sainte Claire employees.

1926 Wills Sainte Claire Roadster, marketed to upper class women

The automobile Wills envisioned was the polar opposite of Ford’s affordable, mass-produced, Model T; rather, it was a somewhat futuristic vehicle that used state of the art engineering concepts and materials. He hoped to compete with luxury automakers such as Packard, Lincoln, and Pierce Arrow. The first car rolled off the assembly line in the spring of 1921, by November 1922, the Wills Co. was $8 million in debt and forced into receivership. Although beautifully crafted and ahead of its time, the car did not do well. It was too expensive, and Wills continually interrupted production to implement every conceivable improvement. The company did not survive the 1926 recession and after producing 12,000 cars, was liquidated. Wills subsequently joined Chrysler as a metallurgical consultant; Chrysler purchased the former Wills Sainte Claire factory which is still in use today.

The female Wills Sainte Claire customer

Throughout its short history, Wills Sainte Claire advertised extensively, always promoting the automobile’s luxury. As one advertisement read, “How can classic be defined?  Sleek, stylish, perfection, unique, timeless, and valuable are words of articulate, lasting design. If you assemble these words in the form of a tangible object you have defined the unique and beautiful Wills Ste. Claire automobile.” What is unusual for this time period is that many of the advertisements – on display at the museum – feature women behind the wheel. 

As women rejected the electric automobile in favor of the faster and more affordable gasoline-powered car, automakers – recognizing a growing consumer base – developed strategies to lure the female driver. Marketing plans shifted from “discussing merits of products to constructing promises for, and listing the expectations of, those who consumed the products.”[1] Relying on the rise in readership of popular women’s magazines, one of the more prominent sales tactics to emerge was advertising that “invited women to seek social status via the purchase of an automobile.”[2]

Wills Sainte Claire wholly embraced this strategy in its advertising. As a 1926 advertisement in the Saturday Evening Post read, “plain, blunt transportation can be purchased for less than Wills Sainte Claire. There are those, however, who demand and are willing to pay for a plus element called style. And these constitute the Sainte Claire clientele – as they constitute Bendel’s and Pierre’s.” The ad includes an illustration of two fashionably attired women travelling – with scarves flying – in a bright red Wills Sainte Claire roadster. An ad published in National Geographic, accompanied by an illustration featuring a woman seated in the driver’s seat with two children behind her, informs its female audience that the 1926 Model T-6 5-Passenger Sedan, “is something genuinely new, and better…and smarter…and sturdier… will become more impressively obvious as the weeks go by.”

Society women out for a spin in a Wills Sainte Claire Roadster

The strategies employed by auto advertisers were constructed, in part, as a response to Ford’s early domination of the automotive market. By 1921, Ford produced over half of all cars in the world. Fords were not only plentiful, but affordable; “growing cheaper by year, the Model T opened new vistas for ordinary people,” which included the growing population of women drivers.[3] Unable to compete head-to-head with “Everyman’s [and Everywoman’s] Car,” manufacturers set out to distinguish their automotive offerings by including an intangible benefit – status – with vehicle purchase. As Ford’s dominance began to erode – due primarily to the company’s unwillingness to move on from the Model T – the automobile as representative of women’s social standing became a popular, effective, and longstanding strategy among luxury cars manufacturers.

Unfortunately for the Wills Sainte Claire, the association of the automobile and social status was not enough to save it. However, the advertising of this little known manufacturer – on display at this small museum on the Michigan-Canadian border, provides insight into the efforts of luxury auto manufacturers to attract the female consumer.


[1] Michelle Ramsey. “Selling Social Status: Woman and Automobile Advertisements from 1910-1920.” Women and Language 28(1) Spring 2005: 26.

[2] Ibid.

[3] Virginia Scharff, Taking the Wheel: Women and the Coming of the Motor Age (Albuquerque: University of New Mexico Press, 1991), 55.

A Visit to the Dahl Auto Museum

Dahl Family

Our annual trip to the Minnesota State Fair took us home through Wisconsin where we had the opportunity to visit the Dahl Auto Museum in La Crosse. The museum was founded by the Dahl family, who have owned dealerships in the area since 1911, making them the eighth oldest Ford dealership in the country. The museum is attached to their current automotive compound, surrounded by other Dahl auto-related businesses. It is a small museum but very well executed; the exhibits are informative, attractive and well-maintained. There is a lot of historical information on the walls as well as on placards next to the automobiles. The cars are lined up pretty tightly in the museum; the staff member informed us that the 40 cars revolve as there is not enough space to put them all on the floor at once. The museum is dedicated to the history of the Dahl’s involvement with cars as well as the accompanying history of Ford Motor Company. The museum also includes an extensive collection of hood ornaments from various automotive brands. 

In terms of women’s representation, it is found primarily as consumers through advertising, symbols in hood ornaments, stereotypes, and as historical markers. There is also one interesting car story attached to a pink 1957 Thunderbird convertible. 

1957 Ford Thunderbird convertible, passed down from one Dahl woman to another

The car was originally purchased by Henry Dahl’s aunt Loraine in 1957 and has been in the family ever since. It resurfaced in 2013 when it was restored and presented to Andrew Dahl’s wife Jamie at her 40thbirthday party which took place in the museum. The car is driven only in the summer; it is normally displayed in the museum during the winter months. 

Another car of interest was the 1911 Ford Model T ‘Mother-in-Law’ Roadster. The car got its name due to the single spare seat added between the rear fenders. Because the seat was isolated from the passenger and driver, and completely open to the elements, it was dubbed the ‘mother-in-law’ seat, no doubt due to the back-seat drivers jokes of the time. By the 1920s the extra rear seat was repositioned into the body of the car and was thereafter known as the ‘rumble’ seat.

Nash ‘Flying Lady’

The hood ornament collection included the Nash Flying Lady, created especially for the 1950 Airflyte by renown pinup artist George Petty. In the creation of this ornament, Petty combined the popular Petty girl with Airflyte styling. The real life model for the hood ornament was Petty’s daughter Marjorie Petty-Macleod. As noted in Curbside Classic, ‘Nash struck a marketing coupe with Petty’s involvement, and brought some of that known Petty Girls glamour into Nash.’

Other ‘feminine’ hood ornaments in the collection included the 1920s Windswept Girl, the 1926 Butterfly Lady Swirl, the Packard Goddess of Speed, 1920s Diving Nymph, and three versions of the 1950s Cadillac Flying Lady.

Electrics for women

The promotional materials in the museum included a number of ads for electric vehicles that featured women. Women were considered the perfect market for electric cars due to the automobile’s cleanliness, slower speed, and limited range. However, after the introduction of the internal combustion engine, women decided they too wanted to go further and faster which led to the eventual failure of electrics. Ford ads for the Thunderbird and Mustang on display also featured women as consumers and drivers.

I had made a point of visiting the Dahl on this trip. There were a number of posts during Women’s History Month which featured female automotive innovators, such as Florence Lawrence, who developed the auto signal arm extension that influenced the development of turn signals, Mary Anderson who patented the windshield wiper, Charlotte Bridgwood who improved on Anderson’s design by adding an electric component, Helen Rother, the GM designer who was the first hired in such a capacity in Detroit, and Margaret Wilcox, the original designers of the automobile heating system. Unfortunately, as I discovered, the spotlight on these industrious women was apparently limited to the month of March.

The Dahl Auto Museum was a pleasant diversion on the drive home. There are some beautiful cars, much historical information, and a very helpful and knowledgeable staff member to answer visitor questions.

Speaking at the Studebaker

Yesterday I had the pleasure of presenting at the Studebaker Museum Speaker Series in South Bend, Indiana. The event is held once a month in the museum’s Wiekamp Auditorium. The presentation topics vary widely, often touching on both South Bend and automotive history. I was asked to speak on the rather broad topic of women and the automobile. Since I am currently working on a book project focused on women’s representation in automotive museums, I thought it would be an appropriate subject for the talk. As I was putting the presentation together, I made sure to include Studebaker artifacts whenever possible, an effort that did not go unnoticed by the audience.

There was a nice crowd in attendance, mostly seniors from the area, as well as a few fellow SAH members. Women made up a good portion of the audience, which I was surprised and pleased to see. Although I am pretty nervous in these situations, the presentation went pretty well with only a few glitches. The audience seemed interested in the topic; the women in particular asked good questions and came up to speak to me afterward. They appeared appreciative that my project focused on women, something that in the context of automobile culture they rarely experience. 

I left not only relieved that the presentation was over, but also gratified that the topic resonated with so many women in attendance. This positive response served as a form of gratification that I am on the right track with this project, as well as a little encouragement to keep moving forward.

Many thanks to the Studebaker for providing me with this great opportunity to present my work.

Presentation Video.

A Trip to Ohio

I spent an afternoon last week visiting two car museums that were very close together in location and very similar in terms of collection philosophy. The Millbury Classic Cars and Truck Museum in Millbury, Ohio, and Snook’s Dream Cars, located 26 miles south in Bowling Green, are each the offshoots of private collections passed on from father to son. While the Millbury focuses on vehicles from the 1960s and 1970s, Snook’s collection includes cars from the early auto age and prewar era. Because each assemblage of vehicles reflects the personal preferences and vision of each owner, it is not surprising that there are very few artifacts in either location that recognize women as participants in American automotive history. Fortunately, I discovered a few that made the trip to Ohio worthwhile.

The Millbury Classic Cars and Trucks Museum opened its doors in May 2024. It is a large structure consisting of three garages, each added on as the collection expanded. The museum is a family project; the owner’s mother-in-law helped with the wood staining on the walls, while his son helped locate cars to fill the collection. The museum is unique in that provenance is not a requirement for auto inclusion; in fact, the majority of the vehicles are not original but have been modified or customized in some way. Rather than rely on donations, most of the cars were acquired through auction. Because the cars were purchased rather than donated, the accompanying placards have a lot of technical information about the car, but no identification or stories of previous owners. The collection also includes a vast array of auto memorabilia, including gas pumps, signage, and toys. Replicas of movie cars are also a prime attraction. 

‘Daisy Duke’ display with 1974 Plymouth Road Runner

Women’s representation in the museum is primarily as mannequins, called upon to place an automobile in a particular cultural or historical moment in time. They are part of a family in a Scooby-Do Mystery Machine-themed 1974 Chevy G10 custom van; riding in the passenger seat of a 1975 Volkswagen Bus; sitting shotgun in the 1979 Pontiac Trans Am of Smokey and the Bandit fame. The only vehicle devoted to a woman is a replica of the yellow 1974 Plymouth Road Runner driven by the fictional character Daisy Duke in the Dukes of Hazzard television series. A group of mannequins ‘for sale’ featured a dark haired woman in a racing suit, no doubt a salute to Danica Patrick.

Mary Clark’s 1933 Cadillac

Snook’s Dream Cars was opened in 2002 with the goal of sharing ‘cars for all ages.’ The automobiles on display are all in working condition; the museum’s on-staff mechanic gave us a short tour of the four-bay shop for maintaining collector cars within the building. The museum features a recreated 1940s era Texaco gas station, a showroom of extensive automobile memorabilia, and a car collection presented within period scenes ranging from a 1930s general store to a racetrack from the 1960s. The car collection consists of models from the 1930s, and includes coupes, convertibles, sedans, roadsters, and race cars.

Women were represented in the museum as important historical markers, such as the year in which Amelia Earhart disappeared, as well as the year in which Lyn St James became the first female rookie of the year at Indy. Two of the vehicles with female connections were a 1933 Cadillac owned by Mary Clark of the Kimberly-Clark Company, and a 1954 Kaiser-Darrin. As noted on an accompanying poster, ‘[Henry J.] Kaiser’s wife loved the look of Darrin’s sports car, and convinced her husband to go with the design for a limited production’, which suggests she had a significant amount of automotive influence over her husband.

Stereotypes of women drivers were found on the covers of automotive magazines on display, as well as assorted print advertisements in the ‘for sale’ bin. Symbolic women were also present as hood ornaments and award figures. 

Automotive Digest cover featuring the stereotypical ‘backseat driver’

While there weren’t as many representations of women in the two Ohio museum as I had expected, I am hoping that delving deeper into the artifact origins will provide some new insight into women’s automotive history.

The Hot Cars of Phoenix

While on a recent trip to Phoenix to capture some Cactus League spring training games, I made a visit to the Martin Auto Museum. The Martin Museum is located in an older strip mall, in a building that felt like it was a supermarket or discount store in a previous life. The museum features over 170 vehicles, including classic cars, hot rods, customs, and imports. It also contains a fair amount of auto memorabilia, signage, and a few antique gas pumps. The museum was founded by Mel Martin as a means to share his expanding collection and to ‘pass down his sizeable amount of knowledge to the generations that follow.’

Queen Wilhelmina’s 1933 Buick

The Martin Auto Museum is very focused on education; its website provides automotive history lesson plans for grades one through twelve. Younger grades are encouraged to create personal and family automotive histories through scrapbooking. Automotive history is incorporated into higher grade levels, with topics that include automobile types, automotive safety, the Arsenal of Democracy, the assembly line, as well as the representation of cars in song, film, art, and literature. The focus on education is clearly evident in the automobiles on display, as each is accompanied by a lengthy and often technical description of the car. While this practice allows for the dissemination of automotive knowledge, it lacks the personal stories that often accompany old cars. Consequently, the displays are somewhat sterile, as there is little opportunity for the visitor to connect to the car in a personal way. This focus on the technical rather than the personal eliminates any possibility of recognizing women’s relationship to cars. Without this social connection, the featured women in the Martin Museum exhibits are limited to famous women, women with relationships to famous men, women in motorsports, and unidentified women in photographs and film.

The woman who receives the most attention is Bertha Benz. Benz and her car, an 1886 Benz Motorwagen [replica], are featured in nearly every automotive museum I have visited. The attention is well deserved, as Benz, whose dowry financed the automotive enterprise of her husband Karl, drove the Patent-Motorwagen No. 3 on the first long-distance internal combustion engine [ICE] road trip to demonstrate the automobile’s feasibility and well as to garner publicity for Karl’s growing company. Greta Garbo is featured in two displays, as an owner [along with Mae West] of a 1930 Duesenberg Model J Torpedo Convertible as well as a 1925 Lincoln Model L. As the Lincoln placard reads, the photo ‘captures the elegance and timeless beauty of both the car and the actress.’ The conflation of characteristics of women and cars is a common promotional technique. The 1933 Buick Series 90 Limousine, formerly owned by Queen Wilhelmina of the Netherlands, is also on display. The description which accompanies the vehicle includes links to further information not only of the car, but also the lovely queen. 

Popular culture connections include the custom car created for the film The Late Show which co-starred Lily Tomlin. The Cars & Stars Trivia video display features stills from famous car movies; unidentified female stars appear in scenes from American GraffitiThe Italian JobThelma and LouiseFast and Furious, and Rebel Without a Cause.

The other category of women on display in the museum are partners of important or famous men. Photos of the founder’s supportive wife Sallie are found on walls and in glass cases. The female partners of rockabilly star Garlin Hackney and American ‘rodder’ Dain Gingerelli are also pictured but not always identified.

While the descriptions that accompany the cars often suffer from TMI [too much information], there were two vehicles that included no information whatsoever. Two midget cars on display had the names of what could be presumed to be the female drivers and/or crew team painted on the sides; however, there was no information about the cars or the women who raced them. Perhaps this was an exhibit in progress; however in its current state it appears as a missed opportunity to include women in the museum’s automotive history offerings.

Midget racer driven by Mary Hall and Carrie Drovo

Unlike the majority of museums, Martin visitors are invited to sit in the most of the cars which provides the opportunity to pose for photos. I found myself behind the wheel of a 1964 Ford Thunderbird convertible doing my best Thelma and Louise impression. This car is sponsored by a woman, but again, there is no information about the particular history of this vehicle so we are left to wonder about the sponsor’s connection to the car.

The vehicles in the Martin Auto Museum are varied and beautifully restored. The museum’s policy of allowing visitors to sit behind the wheel is unique among the museums I have visited. However, the lack of personal stories attached to each car misses the opportunity to connect to museum visitors in nostalgic, engaging, and meaningful ways. And perhaps more significantly, it leaves women out of the driver’s seat.

Me and the T-Bird

#GirlsWill2024 at the Silverstone Museum

Earlier this year I received an invitation to speak at the #GirlsWill2024 motorsport initiative sponsored by the Silverstone Museum. The Silverstone Museum, located at the iconic Silverstone Circuit in Northamptonshire, UK, is devoted to the past and present of British motor racing, and includes exhibits, legendary cars, and stories of British racing heroes. It is only fitting, therefore, that a month-long program aimed at increasing gender diversity in motorsport take place at this renowned, racing-centric institution.

To celebrate the growing number of female motorsport fans, the Silverstone has set aside the month of October to promote and bring attention to the rising interest and enthusiasm for women in motorsports. Planned activities and programs include educational and career workshops designed to highlight career possibilities as well as guest appearances from sporting stars and motorsport authors. STEM and racing, as well as sponsorships and driving, are the topics of a talk given by Barbie ambassador and Porsche Sprint Challenge GB driver Caitlin Wood. The varied and exciting roles within Formula 1 are the subject of another day’s program; additional October events include hands-on activities to assess reaction skills, as well as a look at the inside world of Formula 1 ‘from paddock to pitlane.’ Information about eSports, karting, and sports broadcasting is also part of the month’s agenda.

Katharine Worth, a PhD candidate now working as a Collections and Research Officer at the Silverstone, was familiar with my work through our joint participation in the Argetsinger Motorsport Symposium. She asked that I speak on the history of women-only racing [From Powder Puff to W Series: The Evolution of Women-Only Racing] which had been published in a UK volume on the history and politics of motorsport. While I  had originally hoped to attend the event in person, a fractured elbow [ouch] prevented me from making the trip. But with Katharine’s technical help, and her consideration for the time difference, I was able to make the presentation virtually without mishap. The presentation went smoothly [I hoped those in attendance could understand me through my Midwest American accent] and I tried to answer audience questions to the best of my ability. I was quite honored to be asked to speak at this event and I only hope it was well received. Such programs are so crucial for raising awareness and enthusiasm for motorsports in young girls. The Silverstone is to be commended for creating and maintaining the impressive and important #GirlsWill motorsport initiative.

All About Detroit

Recently I drove to downtown Detroit to visit one of my favorite museums. The Detroit Historical Museum is a popular destination for school groups, families, and native Detroiters. I have been going to the DHM since I was a kid in the Detroit Public Schools; I even shot a commercial in The Streets of Old Detroit – the museum’s ‘most beloved exhibit’ – back in my advertising days. As stated on its website, the DHM’s mission is ‘Chronicling the life and times of the Detroit region, safeguarding its rich history.’ Although it is not technically a ‘car’ museum, it is an institution that highlights the Detroit auto industry as an important contributor to the region’s history and culture. While the typical automotive museum is constructed around a vast and impressive collection of cars, the Detroit Historical Museum focuses on the influence of the automobile on the city, the people, and the culture. As a museum of ‘place,’ it is less about the cars than the community that gave birth to the American auto industry. 

Two signature exhibitions feature Detroit’s connection to the automobile. America’s Motor City has three main objectives – to examine how cars built Detroit, to look at how metro Detroit built cars, and to reflect on how and why Detroit became the motor city. Much of this is related through stories of individuals who lived and worked in the region. Detroit’s car culture is also an important part of the exhibit. Displays and information reveal the personal connection Detroiters have to cars.

Detroit: The Arsenal of Democracy focuses on how Detroit became a center of wartime production, retooling its auto factories to produce aircraft and other war materials.

Women’s representation in the Detroit Historical Museum is found primarily in the role of workers. Although the museum recognizes that women were ‘all but absent’ in the first half of the auto age, a conscious effort has been made to include women’s contributions in the factory, and as part of automotive families. My grandfather was one of the thousands of Polish immigrants who came to Detroit during the early 20th century to work at Dodge Main. The exhibit features the stories of immigrant families – photos and artifacts tell the stories of the men and women who came to Detroit for the promise of jobs and the hope of a better life.

There are many photos of women working in the factories in gender segregated workspaces. There are also stories of the daughters of early auto workers who as adults became employed by the auto industry in some capacity. Women’s acceptance as factory employees is also reflected in photographs of recreational activities, such as a plant female softball team. The images of female factory workers suggest that there were certain ‘female’ characteristics – small hands and attention to detail – that were valued by auto makers, even though women’s contributions have remained relatively unknown. Other female representation included posters and photographs of the Detroit Auto Show and other events, as well as other promotional materials, photos, and advertising.

As I have discovered, auto museums of ‘place’ provide a greater opportunity to incorporate women into the region’s automotive history. Auto history is not just about old cars and famous men; rather, it is about the community and the collective culture that developed around the automobile.

Ask the Man Who Owns One

Last week I made a trip to Dayton, Ohio to visit America’s Packard Museum. Housed in a former Packard dealership, the museum claims to have the largest collection of Packard autos and memorabilia in the world. The Packard Car Company which the Dayton museum celebrates originated in Detroit; the Packard Automotive Plant, now under demolition, was a massive structure that occupied 38 acres in the downtown area. Packard was known for its production of luxury automobiles; owning a Packard was a visible sign that one had ‘made it.’ The first Packard automobiles were produced in 1899; the last came off the line in South Bend, Indiana in 1958. 

The mission of the APM is “to educate present and future generations about the Packard Motor Car Company, its products, and philosophies.” The museum is one I would consider ‘old style;’ there is little tech and the display cards appear to be somewhat old. However, like many other automotive museums, the placards include a couple of short historical “bites” that place the automobile in a particular time and place. Glass cases containing women’s fashion pieces also serve as a period reference.

Despite its somewhat old fashioned exhibition style, the museum has made some attempt to include representations of women. This is accomplished primarily through stories on placards, as well as hood ornaments, unidentified photographs, and promotional materials.

The Packard hood ornament is perhaps the most visible female representation. Hood ornaments, sometimes referred to as motor “mascots,” were used to identify an automotive brand and differentiate it from others. Hood ornaments on Rolls Royce and Packard models, for example, often served as symbols of luxury. Packard featured three distinct hood ornaments on its vehicles – the cormorant [a flying bird], Adonis [representing youth and beauty], and Nike, the Winged Goddess of Victory. In Mascots in Motion, Steve Purdy writes, “Packard’s goddess of speed mascot, created by Joseph E. Corker and patented in 1927, is based on a sculpture of Nike in the ancient city of Ephesus. Colloquially the ‘Donut Chaser,’ she first adorned 1926 cars. […] Designer Corker replaced her laurel wreath with a wire wheel. […] In Greek lore the laurel wreath was given to the victor of a competition or conflict.”

Packard advertising frequently featured women as a means to associate the automobile with luxury, status, and class. An ad for the Dietrich Convertible Sedan reads, “Cultured women instinctively recognize and appreciate fine work – whether it be the decorator’s, the modiste’s, or the motor car designer’s.” The entire ad equates women’s “good taste and discrimination” to the Packard’s reputation as a car of good quality and distinction. Although the Packard theme line reads, ‘Ask the Man Who Owns One,” women were often called upon to express the finer qualities of the automobile. Promotional material often incorporate women to demonstrate the automobile’s distinctive features, particularly those assumed important to female Packard drivers. As a beautifully illustrated Packard brochure states, “handy space is provided for Milady’s accessories.” There are also a number of photographs in the museum that feature women behind the wheel – while many are unidentified, famous women in Packards also make an appearance.

There are a number of cars on display with women-centered stories. The 1934 Super Eight Sport Phaeton on the showroom floor – in the unique shade of “Orello” (a combination of orange and yellow) was originally purchased as a birthday gift for the daughter of Herbert and Agnes Greer. Apparently the 16-year-old “hated the color” so it is not known how much she actually drove the automobile. Another interesting story is that of a 1934 Super Eight Club Sedan owned by Mrs. Maude Gamble Nippert, the daughter of the inventor of Ivory Soap. She always drove the car herself, and as a firm believer in the hereafter, stipulated upon her death that the car was to be regularly maintained to be ready for her return. Each of these car stories are important reminders that the automobile often held a special place in a woman’s life, whether as an object of opposition or devotion.

As I made my way through the exhibits, searching for female images in printed material and photographs, I was reminded how auto museums have the ability to incorporate women into automotive history if they look beyond the male-defined definitions of what is significant. I’m not sure what leads to the absence of female representation – is it a lack of relevant donations or is it because both donors and archivists have limited notions of exactly what constitutes women’s automotive history? But I am encouraged that museums such as the Packard have taken the first step in expanding the idea of what automotive history is, through the incorporation of women’s stories, influences, and contributions as part of the company’s automotive heritage.