While researching fur trade material culture to develop new programming and interpretation for the Pembina State Museum, I occasionally latch on to smaller details. The past few weeks I’ve been focused on the history of buttons, something most of us rarely think about. But during the 17th and 18th centuries, buttons were big business. Buttons feature prominently in collections from fur trading sites, including at Pembina. Buttons are part of our “Red River Rendezvous” program and will also be showcased in a gallery interactive currently in development.

My fascination with buttons as fur trade material culture comes from my personal experience wearing historical garments at reenactments. Today, if a shirt loses a button, we may choose to get rid of it rather than fix it. Sewing buttons isn’t as common as it once was. At reenactments and living history events, I and many of my colleagues have found buttons to be an omnipresent concern. I have lost at least one button from a coat or trousers at every event I’ve attended. Most reenactors will say the same. Given this frequency, I have learned how to quickly reattach a button between public demonstrations. I rarely read in journals from fur traders or frontier soldiers about losing or sewing buttons, but my experience with historical garments makes me think that it was so commonplace as to not be considered worth mentioning.

Artifacts, including dozens of buttons, collected from the Fort Pembina trading post site.

The history of buttons and button manufacturing speaks to their importance. In England, where most of the fur trade buttons for the Pembina region were made, laws were passed in 1699 and 1721 to protect the domestic button industry. Many of the firms listed on fur trade receipts were founded in the 18th century. Several new developments in button manufacturing were also made at the same time. Stamped two-piece buttons and brass gilding were both developed in the mid-18th century. Hundreds of millions of buttons were made every year in the manufacturing centers of England, France, and Italy. The Hudson’s Bay Company and the North West Company each ordered tens of thousands of buttons to be shipped to North America and sold to Indigenous customers. In Europe, buttons were practical fasteners of garments. However, for the Indigenous consumer, buttons were adornments for traditional garments meant to enhance the prestige of the wearer.

In this 1832 painting by George Catlin, Tchón-su-móns-ka, Lakota wife of fur trader François Chardon, wears a shawl festooned with brass gilt buttons. Smithsonian American Art Museum

The value of buttons as trade goods lasted from the 17th through the early 20th century. The “Red River Rendezvous” program interprets the value of different trade goods through the lenses of various local groups and their specific needs during the early fur trade period at Pembina. The new interactive elements that I’m working on for visitors in the museum gallery interprets value based on historical costs. The interactive will consist of a scale. On one side visitors can place weights representing beaver furs or pemmican and on the other side weights representing a variety of purchased trade goods. Guests can press a button to see whether their trade is “balanced.” If it isn’t, the scale will tip, dumping the weights back into containers.

By determining the historical prices of items found mostly in fur trade ledgers and journals, the value can be translated into weight as a proportion of their monetary value, with the value of one beaver fur or pemmican pack set at 1 kilogram. I’ve chosen metric measurements to better fine-tune the weights of different items using grams. This leaves some things a bit too heavy. In 1802, a guide in Alexander Henry the Younger’s brigade recorded being paid an annual salary of £15. Compared to the price of a beaver pelt for that same year that would make the weight representing his wages 16.5 kilograms, or about 36 pounds, which is more than a visitor should be expected to lift. A simple solution is to represent the monthly wage instead, which would be £1 and 5 shillings, or a more manageable weight of about 3 pounds. More reworking, as well as designing and prototyping, are required before the interactive is finished. We plan to have it ready by this summer. In the meantime, my fascination with buttons has yielded an enhancement to the “Red River Rendezvous” program.

Here, the author puts skills learned while wearing historical garments to work.

These buttons sewn to hand-drawn cards represent a small but important improvement to the “Red River Rendezvous” program, which resulted from ongoing research for a new interactive element at the Pembina State Museum.

Prior to beginning research for our new interactive, the buttons for the “Red River Rendezvous” were left in loose piles for children to handle. This often meant that the kids, when instructed to buy buttons, would trade for a single button rather than enough to complete a garment. While this offered an opportunity to talk about the historical uses and importance of buttons, our new authentic packaging helps demonstrate the typical quantity of goods directly traded. As in the past, buttons come attached to a card today. While working on the interactive, I took care to attach our buttons to cards with simple hand-drawn labels. This may seem like a trifling detail, but every improvement to the authenticity of the items used in our programs improves the interpretation and creates a more authentic experience. With each new piece of information, existing and new programs become better and better. No detail is too small.

Our new button cards pictured with the other sewing items in the “Red River Rendezvous” program are now on display for visitors to interact with at the Pembina State Museum. To schedule a tour or an interpretive program, contact us at shspembina@nd.gov.

The State Archives recently developed a proactive collecting survey because we want public input on what types of documents we should collect. This feedback tells us what topics or events people are interested in for research, genealogy, teaching, general information, entertainment, enjoyment, and other purposes. With this information, we can better describe and highlight those themes in our existing collections and actively seek representation through new items that document those topics.

Row of existing manuscript collections at the State Archives.

Opening the doors to public input is now the norm across the field of archives, but it hasn’t always been that way. There are many reasons why proactive collecting can be difficult for archives. First, we can only collect what has been created. While we may want documentation of an event, person, or topic, that documentation may simply not exist. On the other hand, since we do not know every single document that has ever been created, we hold onto the hope that important historical records do exist and may someday be found, identified, and donated. At the State Archives, we are continuously surprised about the documents and collections people do have and donate to us; this keeps the hope alive that amazing collections are out there and will continue to trickle in.

There are other reasons why proactive collecting can be challenging. A lot of people are unfamiliar with archives and have no idea that we are here or even that we want more documents. Trust me, if it is about North Dakota or its people, we do! It often takes a generation (or more) for items to be donated because the creators or owners want to regularly use or see the documents. To alleviate any concerns, we try to emphasize that anyone can come into the Reading Room at any time during our open hours to view or use these items. We have reference staff who can help with remote access as well. These services apply to the original owner but also expand access to a broader base of researchers and the public.

People typically think about donating their papers during a major life change or transition, such as downsizing, death, or retirement, which means that documents don’t arrive to the archives until long after their creation date. Since archival material can deteriorate from environmental factors, emergencies, format obsolescence, deletion, etc., that means unfortunately, some historic materials simply don’t live long enough to make it into an archive. Proactively collecting documents into the archives for proper storage and care helps preserve more North Dakota history for future generations.

Sometimes collections do not make it into archives because it can be more lucrative to sell online instead of donating. However, the concept of value is different for archives: For us, a document’s worth is based on its research value and relationship to our collecting scope. Think in terms of intrinsic and historical or informational value versus monetary value. With that being said, we rely on donations of collections because we cannot compete with buyers on the free market.

Valuable contemporary documentation of life is often discarded, deleted, or overlooked because of the misconception that we only want “old stuff.” It is true that we have a lot of “old stuff” in our archives, and this is a primary reason for proactive collecting in the State Archives. Since documentation of modern life in our collection is lacking, we are putting a call out for records of everyday life in North Dakota today (and for the last 50 years). Related to the “old stuff” misconception is that we want everything that is old. Most of us at the archives are history buffs and greatly appreciate historical documents and “old stuff.” However, we remain committed to collecting within our scope, which dictates that items must represent North Dakota or its people to be included in the State Archives’ collections.

While we archivists have a good grasp of what we have in our collections, it is critical to have fresh perspectives on what we should focus on and proactively collect. History is the sum of a myriad of different voices, lives, and identities. With that in mind, we want the collections of the State Archives to represent the broadest possible spectrum of experiences. To achieve this goal, we need that same breadth of thoughtful responses to the question of what we should collect. Please help us to achieve this and grow by filling out this survey and contributing to the proactive collecting conversation.

Lifecycle of a New Collection at the State Archives

1. Materials arrive at the State Archives.

2. Archivists assess and sort the collection.

3. Archivists organize documents into boxes and folders and enter collection information into our database.

4. Collection lives in temperature- and humidity-controlled storage until it is pulled for use by staff or researchers.

5. On-site researchers can access collections at the State Archives Reading Room. Reference staff are available to assist remote researchers.