Libr 550 bibliography goodly Gear

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Review of sources

Items for this bibliography were located by searching:

NZBN (New Zealand Bibliographic Network) by subject and title keyword
LCMARC and the Library of Congress Catalog
Existing booklists or bibliographies, including Costume: A General Bibliography, “Puffs and Slashes”, and FAQ lists in costume history or recreationist groups
Bibliographies of costume books
Purchasing tools such as BookFind and Blackwell’s New Titles
Museum publications lists for places with textiles collection, such as the Victoria and Albert Museum
Indexes and databases of articles, such as UnCover, DIALOG and Aslib
The Internet
Contact with others working in the field who knew the resources and could make recommendations

Methodology: Search Strategies

Recreators tend to avoid the noun “costume” because it has overtones of fancy dress. My use of it in this bibliography is determined by its use in library catalogs, where “Costume” is used for historic clothing and “Clothing” reserved for modern wear.

The Library of Congress Subject Headings for historical clothing of this period all use the term “Costume”, explaining: “Here are entered works on the clothing of particular places or periods, as well as on costume for the theatre, movies or special occasions, e.g. court receptions, carnivals, masquerades, etc. Works on clothing from the standpoint of utility as a covering for the body, and works on the art of dress are entered under Clothing and dress.”

The subject headings referring to historic costume include:

Costume – history –

Costume –

–

– courts and courtiers – costume

Locations which have changed name or political grouping form a trap for the unwary: a book on medieval costume might have the geographical delimiter , while a survey of costume history which goes from medieval to recent times might be listed as . With Western Europe as the prime focus, appropriate keywords would relate to the countries of England, France, Germany (which is combined with Austria for the purpose of this bibliography), Italy (with full understanding that it was not a single political entity during the time in question), and, to some extent, the Iberian Peninsula (Léon, Castile, Aragon and Catalonia, which will be described as “Spain”, and Portugal) and Scandinavia. Although some books are devoted to the clothing of Scotland, Ireland and Wales, they are few in number. Recreators with an interest in these areas are advised to look also at the sources for England at the same time.

Time periods are also described in diverse ways, depending on the country or the topic under consideration. LCSH gives each country a historic sequence, usually based on reigning dynasties. English history, for example, is often divided into Anglo-Saxon, 1066–1485 (from the Norman Conquest to the Battle of Bosworth Field) and 1485–1603 (from Bosworth Field to the death of Elizabeth I), although the terms and are also used for the latter spans respectively. French history has a different sequence to match their dynasties. I have tended to list items by century, with the addition of terms such as “Tudor” and “Anglo-Saxon” for those periods which are popular and popularly known by those names. Where a work covers material from the full scope of history, such as a history of costume in the western world, it is described as a “Survey”. There is a type of costume work which describes the clothing of England or Great Britain from either time immemorial or the Norman Conquest to “the present”. This genre is described as “England – Surveys”.

Presentation and Arrangement

The main criterion for annotation and arrangement is that the references concerned serve the needs of the bibliography’s users. Appendix A gives examples of feedback on the factors which would make a bibliography useful and interesting to medieval recreators. In summary, the features most mentioned are description of the style and number of pictures, and an indication of factual reliability. The repeated mention of the quality of illustrations and the authority of the source in this feedback shows that these factors are important to the intended audience and should be indicated in annotations. It is also necessary to know the scope of the resource and the particular styles that it would help recreate. To this end a controlled vocabulary has been used to develop subject headings which can then be indexed. It is also important to give references to related works, especially to show the links between well-known works and their commentaries.

Citations are in the Chicago Manual of Style’s humanities style, with the addition of information regarding illustrations and portraits, and descriptors for clothing patterns and lists.

The bibliography is arranged in a single sequence, with a range of indexes and finding tools to help users find the information they seek. There is a Title Index and a Date Index which gives the date of publication of the works listed.

Tips and Terms

“To costume” is a regular verb meaning “to make clothing”. One usually does some research before starting to costume.
“Recreators” is a term that I have used in preference to re-enactors. “Re-enactment” is usually used to describe staged re-enactments of actual historical events (particularly battles), while historical recreation is a much broader field.
A “browser” is a costume book which is best used by looking at the pictures and turning the pages. It is usually heavily illustrated, and the text is often not of the best. Browsers are used to get a feel for a new time or place, or to keep an eye out for new or interesting styles. Because they are often tertiary sources or not well researched, it is advisable to do some more research of your own before beginning to costume based on information found in a browser.
“Numerous”, with respect to illustrations, means that a book is substantially illustrated but does not number its illustrations. Where a book does number its illustrations, or where there are only several dozen illustrations, the number is given, either from the book’s numbering or by counting. Where there are many dozen, or even several hundred unnumbered illustrations, I have described them as “numerous”.
A suit of armour is “an armour”. Suits of armour are “armours”.
The “foreign Queen problem” is that queens are the women most likely to be represented in artworks, and their clothing is often given as an example of the typical clothing of the kingdoms in which they were crowned. However, in addition to the use of stylised ritual dress for queens—and the sideless surcoat was the ritual dress of queens and princesses of France long after it had fallen out of fashion with the populace—foreign-born queens may have been represented in the fashions of their homelands. Although these fashions sometimes affected the styles of their new kingdoms, this cannot be assumed. Anne of Cleves, best known to us from a portrait and miniature by Holbein showing her before her marriage dressed in the styles of Cleves, is often and inappropriately used as an example of English styles.
“Early” is used to describe those styles of clothing—Classical Greek, Etruscan, Roman and dark-age Germanic—which fall outside the main focus of this bibliography but which are often essential to an understanding of the historical development of clothing.
Surnames containing the conjunctions “van” and “de” can be a source of confusion. The library convention is that an author who writes predominantly in English will be indexed as “de Name, Jo” or “van Name, Jo”, while a non-English writer will retain the indexing style appropriate to the name, usually “Name, Jo de” or “Name, Jo van”. I have indexed according to this rule, which affects a few writers whose work I have in translation. I have tried to avoid confusion by the use of “See” references.

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