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Irena Turnau. “The Diffusion of Knitting in Medieval Europe.” p. 368-390.
[SURVIVING TEXTILES; DYES and DYEING; VIKINGS; TEXTILE INDUSTRY]

Harte, N[egley] See also Baclawski, Karen. The Guide to Historic Costume.




83 Hartley, Dorothy. Mediaeval Costume and Life: A Review of their Social Aspects Arranged Under Various Classes and Workers with Instructions for Making Numerous Types of Dress. London: Batsford, 1931. xiv, 142, [32] pages. Index: 141-142. ISBN: none.
B&W illustrations: photographs of manuscripts and original artworks from named sources, line drawings of suggested ways of making costumes, photographs of models wearing the costumes made from the patterns in the line drawings. Colour frontispiece of two manuscript illuminations.
Covers Western Europe from the Crusaders to Bosworth Field (c.1100-1500). Worth a look, although it should be used with care. After a chapter on materials and their treatment there are 24 chapters interspersing the clothing of various estates of society (“Royalty”, “Musicians”, “Artisans”) with chapters on types of clothing (“Hose and Breeches”, “Concerning Hoods”). Part of the movement towards researching and recreating the cut of clothing, this mentions the importance of loom widths and the draping characteristics of fabrics, and takes its inspiration from primary sources. Unfortunately there was still a lot to be learned about figuring out the pattern which would historically have been used for each garment (there still is, if truth be told), and a number–perhaps the majority–of Hartley’s clear and attractive patterns are inauthentic. This makes the work selectively useful: the full-skirted dress, although an inventive use of fabric, should probably be avoided, however the suggestions for constructing hose are as useful as you’ll find in any other costume book. Particularly noteworthy is the apparent lack of body linen under the recreated robes, and the tendency of the models to show bare forearms and even elbows. The primary illustrations, although small and grainy, are interesting, being gathered by “occupation”. Tends to blur four centuries into a “generic medieval”. Although not explicitly for the theatre, this seems to be where it would be most useful. Fascinating as a test of “vision”, especially where the original and the recreation are side-by-side.
[SURVEYS; THEATRE; PATTERNS – MODERN]


84 Herald, Jacqueline. Renaissance Dress in Italy, 1400-1500. London: Bell & Hyman; Atlantic Highlands, N.J.: Humanities Press, 1981. 256 pages. (The History of dress series ; 2) Includes index. Bibliography: 249-251. Glossary: 209-231. ISBN: 0391023624 (Humanities Press).
16 colour plates and 160 B&W figures, all photographs of artworks from the time.
An excellent resource for Renaissance clothing of the Italian states, supported by many illustrations (mostly B&W) from contemporary artworks, extracts from letters and records, inventories of wardrobes and orders for lengths of fabric. Inhabits a realm somewhere between art history and social history, having a substantial text discussing the fashions, politics and commerce of the time, as well as the situations in which certain garments were worn. If you need to know that it would be considered very informal to go out in only a gamurra, but quite okay to be seen wearing only the silk summer version of a gamurra called a cotta, this is the book for you. Rare pictures of textiles showing brocade patterns. Readable and informative glossary of Italian costume terminology.
[ITALY; 15th CENTURY]

Herbenova, Olga. See Kybalova, Ludmilla. The Pictorial Encyclopedia of Fashion.




85 Hill, Margot Hamilton and Peter A. Bucknell. The Evolution of Fashion: Pattern and Cut from 1066 to 1930. London: B. T. Batsford, 1967. xii, 225 pages. Bibliography (of other costume books): [xi]. ISBN: 0713408510.
Line drawings, pattern diagrams.
Picking a year in all the major reigns and time-periods, Hill and Bucknell give on facing pages a summarised description and drawing of “typical” dress for a man and a woman of that year, followed by suggested pattern shapes to reproduce that dress. Unfortunately, the drawings are compilations or inventions—and not always plausible ones—the dates are sometimes out by many decades, and the patterns are designed for modern four-piece pattern-cutting and do not necessarily produce the effect illustrated. Most useful for browsing to find appealing styles to research. Read in conjunction with the commentaries by Catarina da Monticello.
[ENGLAND – SURVEYS; PATTERNS – MODERN]

Hofenk-De Graaf, Judith H. See Harte, N.B. Cloth and Clothing in Medieval Europe.

Hoffmann, Marta. See Harte, N.B. Cloth and Clothing in Medieval Europe.


86 Holkeboer, Katherine Strand. Patterns for Theatrical Costumes: Garments, Trims, and Accessories from Ancient Egypt to 1915. Englewood Cliffs, NJ: Prentice-Hall, 1984. 342 pages. Bibliography (of other costume books). Index. ISBN: 0136542603 pbk.
Line drawings and pattern shapes. B&W drawings of styles of decoration for each period.
Suggests ways of making period costumes for theatrical productions. Clear and easy to use, but entirely derivative of other costume books and so perpetuating their misunderstandings. The influence of Hill & Bucknell is apparent in pattern designs. A useful resource for the theatrical market it is aimed towards.
[SURVEYS; THEATRE; PATTERNS – MODERN]

Hoshino, Hidetoshi. See Harte, N.B. Cloth and Clothing in Medieval Europe.




87 Houston, Mary G. Ancient Greek, Roman and Byzantine Costume & Decoration. London: Adam & Charles Black, 1931. 2nd ed. 1959. x, 182 pages. Bibliography: 179-182. ISBN: none.
8 colour plates, many line drawings. Generally seem to be acceptable, although only a vague statement of provenance is given in the text.
Houston here covers a huge timespan, beginning with a brief discussion of Sumerian style c. 2900 BC before moving on to Aegean/Cretan/Minoan clothing, and passing through the subjects of the title to end with Byzantine fashions of the 11th century AD. Good for draped styles, showing how to achieve some of the more complex effects with simple draperies. Also good for its coverage of Byzantine clothing, showing how it developed from Roman clothing and how it influenced ecclesiastic styles.
[EARLY – GREEK; EARLY – ROMAN; BYZANTINE]


88 Houston, Mary G. Medieval Costume in England and France: The 13th, 14th and 15th Centuries. Mineola, N.Y.: Dover Publications, 1996. Reprint of original published in 1939 by Adam & Charles Black, London. xii, 228 pages. Glossary: 219-226. Bibliography: 227-228.
8 colour plates, 350 B&W line drawings from original sources. Some cutting diagrams, but not all appear to be taken from original garments.
Still one of the basic guides to its time and place, with chapters clustered by century covering construction, civilian dress, armour, regal and ecclesiastical dress, and textile ornamentation. Many clear and accurate line drawings, including detailed drawings of roweled spurs, strap ends and crown foliations. Thoughtful discussion and explanation. Some schematic diagrams of garments show seam lines: in general these are fine, but one or two have proved unreliable.
[ENGLAND; FRANCE; 13th CENTURY; 14th CENTURY; 15th CENTURY; ARMOUR; ECCLESIASTICAL; PATTERNS]

Howe, John. See Embleton, Gerry. The Medieval Soldier.




89 Hunnisett, Jean, and Janette Haslam (Ill.) Period Costume for Stage and Screen: Patterns for Women's Dress 1500-1800. London: Bell & Hyman, 1986. 176 pages. Bibliography: 175. Glossary of making terms and techniques: 170-173. ISBN: 0713526602 (paper).
Line drawings, photographs of reconstructions, pattern diagrams.
The how-to guide for 16th century women’s clothing. Designed for the sector of the theatrical market that cares about getting it reasonably right. Admittedly, the focus is about faking things convincingly, and Hunnisett is not about to give up the practicality of rigilene stays for the authenticity of reed bents, but it is also concerned with knowing well what you’re trying to reproduce, and making reasonable facsimiles of garments from portraits of the time. Useful sections on corsets and ruffs, notes on fitting to achieve the desired shape, and a shift/chemise pattern. Recommended for anyone working in this time period.
[THEATRE; WOMEN; CONSTRUCTION – MODERN; 16th CENTURY; 17th CENTURY; CORSETS; UNDERCLOTHING; PATTERNS – MODERN; ENGLAND]


90 Hunnisett, Jean and Kathryn Turner (Ill.) Period Costume for Stage and Screen: Patterns for Women's Dress, Medieval -- 1500. Studio City, CA: Players Press, 1996. 186 pages. ISBN: 0887346537.
Line drawings, photographs of reconstructions, pattern diagrams.
One of the better theatrical costume books, taking medieval illustrations and showing ways of constructing garments to match. Good information on draping as a way of constructing garments, which is particularly useful for houppelande styles. Could perhaps pay more attention to what is known about historic cut in certain other styles. Useful hints and tips. Aimed at the theatre wardrobe costumer who wants to produce work along historically accurate lines, although considerable artistic licence is applied to the actual examples of theatre costumes pictured.
[THEATRE; WOMEN; PATTERNS – MODERN; CONSTRUCTION – MODERN; ENGLAND; FRANCE; ITALY]


91 Hunt, John, with contributions from Peter Harbison. Irish Medieval Figure Sculpture, 1200-1600: A Study of Irish Tombs With Notes on Costume and Armour. Dublin: Irish University Press, [1974]. 2 volumes: volume 1. Text and Catalogue, 297 pages; volume 2. Plates, unpaginated. Glossary: 263-270. Includes bibliographical references. Index: 271-297. ISBN: 085667012X.
Vol. 1: 17 B&W figures: drawings or photographs of sculptures. Vol. 2: 340 B&W plates of sculptures.
Volume one is a catalogue with commentary about the sculptures shown in Volume two, which gives many examples of figures carved in stone, mostly from grave effigies, from the 13th to the 16th centuries. Some of the carvings are remarkably clear and detailed, while others are worn almost smooth. Sculptures are discussed by time-span: Period I (1200-1350), Hiatus (1350-1450), Period II (1470-1570) and Elizabethan. Within each period there is discussion of Knights, Civilian Ladies, Civilian Males and Ecclesiastics. Hunt’s discussion of the wearing of mail is worth reading. He points out that mail garments lengthen and thin under the influence of gravity and movement. To make a hauberk less binding, it would be secured at points to a gambeson or aketon, or sewn to a lining. Armours from the late 15th and early 16th centuries consistently show a curious V-shape at the lower edge of the mail-coif. A useful and interesting source which is often under-rated. Few of the styles seem to be distinctively Irish, and indeed many of the people represented would have been English landowners or members of their households.
[IRELAND; ENGLAND; ARMOUR; ECCLESIASTICAL]

Hutchison, Robin. See Maxwell, Stuart. Scottish Costume: 1500-1850.




92 Ingham, Rosemary, and Liz Covey. The Costumer’s Handbook: How to Make All Kinds of Costumes. Englewood Cliffs, NJ: Prentice-Hall, 1980. Bibliography: 275-278. Index: 285-294. ISBN: 0131812637 (cased).
Illustrated with photographs (mostly colour) of costumes for stage plays and line drawings.
Strong on sewing techniques and the process of putting together theatrical costumes, but of limited use to recreators. Useful for discussion of attaching cartridge pleats to waistbands, curling feathers, shaping hats on blocks, and perhaps for ways of faking things until you have time to research them better.
[THEATRE; CONSTRUCTION – MODERN]


93 Jackson, Sheila. Costumes for the Stage: A Complete Handbook for Every Kind of Play. London: Herbert, 1978. 144 pages. Bibliography (of other costume books): 141. Index: 142-144. ISBN: 0906969778 (1988 paperback edition).
Numerous B&W line drawings and pattern layouts.
A survey guide to costume for amateur dramatics, with a particular focus on school plays. Takes a fairly brutal and pragmatic approach which tends to look more like dress-up than any real attempt at period clothing.
[ENGLAND; SURVEYS; THEATRE; PATTERNS – MODERN]

Kellenbenz, Hermann. See Harte, N.B. Cloth and Clothing in Medieval Europe.




94 Kelly, Francis M. and Randolph Schwabe. Historic Costume: A Chronicle of Fashion in Western Europe 1490-1790. 2nd ed. London: Batsford, 1929. Originally published 1925. [xvi], [306], [32] pages. Index and Glossary: 303-305.
76 B&W plates of original clothing, artworks and pattern layouts from contemporary sources.
On the principle that a picture is worth many many literary quotations—“the principle governing the present work, namely, the superior lucidity of graphic evidence over written” (p. x)—Kelly and Schwabe here focus on the visual evidence for historic costume. Covers "fashionable civil apparel" (p. xi) but not church, occupational or military costume. Does the job well, analysing the costumes shown in B&W plates from paintings, and giving line drawings of details which do actually seem to make the point clearer. The first three of the six chapters are relevant to our time period: “The Italianate Tendency (1490-1510)”, “Puffs and Slashes: The German Element (1510-1545)”, and “Spanish Bombast (1545-1620)”. Chapter headings refer to the predominant styles of the times, and are not an indication that only German gear gets a look-in in 1510-1545. Interesting analysis of changes in necklines, seam-cuts and the layering of garments. An oldie, but still a goodie.
[16th CENTURY; 17th CENTURY]


95 Kelly, Francis M., and Randolph Schwabe. A Short History of Costume & Armour: Chiefly in England: Vol. I. 1066-1485. London: Batsford, 1931. xii, 82, 30 pages. Bibliography: 75-77. Iconography: 78-79. Index and Glossary: 80-82. ISBN: none.
B&W photographs of named and dated primary sources (manuscript illuminations, statuary, bas-relief, embroidery, detail of riveted mail, armours), with a few colour plates. B&W line drawings of other originals, which appear accurate.
One of those books which you wish was still in print so more people could read it. A good and informative read, divided into two parts: Civilian and Armour. The civilian section divides into “Shirts” (1066-1350) which are essentially loose garments which “fitted where they touched” (p.1), “Shapes” (1335-1380) which are fitted and tailored, “Houppelandes” (1380-1450), and “Burgundian Modes” (1450-1485). Progresses through the garments which go to make up a costume in each section, passing through the ages to give dates for particular fashions. Much common sense and much useful detail. The armour section is (surprisingly?) informative, and shows that even in 1931 people were railing against the misunderstandings behind the “mere modern neoplasm” of the term “chain-mail” and the “nonsense” of “scale-mail” and “plate-mail”, and the “fictions” of the more extreme categories of mail disseminated by Sir Samuel Rush Meyrick, whose article “On the Body Armour anciently worn in England” (Archaeologia, xix) “was responsible for disseminating a number of gross misconceptions, not yet wholly dispelled.” (p. 48, and note). Kelly touches base with surviving sources of evidence to take us through the phases of the transition from mail to plate.
[ENGLAND; 11th CENTURY; 12th CENTURY; 13th CENTURY; 14th CENTURY; 15th CENTURY; BURGUNDY; ARMOUR]

Klepper, Erhard See Laver, James Costume through the Ages.



96 Köhler, Carl [Karl Köhler]. A History of Costume. Edited and augmented by Emma von Sichart; translated by Alexander K. Dallas, with over 600 illustrations and patterns. New York: Dover Publications, 1963. Originally published by Harrap in 1928. 463 pages. “An unabridged republication of the English translation first published ... in 1928.” Translation of Praktische Kostümkunde. Bibliography: 457-458. Index: 459-464. ISBN: 0486210308 (pbk.)
Some B&W photographs of original clothing. B&W line drawings. Diagrams of costumes.
A difficult book to judge because it is patchy but occasionally interesting. Do not use the pre-17th century pattern diagrams which look so carefully measured. From the 17th century onwards, when surviving garments become more common, they may be useful guides taken from real garments. Before that time they are largely fabrications which tend to assume that every crease or drapery must be cut and sewed. Since this is written from a German perspective it presents some pictures and ideas which are seldom seen in the English mainstream. There are rare photographs of surviving garments including a 14th century chemise and a number of 16th century men’s short cloaks.
[SURVEYS; GERMANY]

Kok, Annette. See Dunbar, John Telfer. History of Highland Dress.




97.1 Kybalova, Ludmilla, Olga Herbenova, and Milena Lamarova. The Pictorial Encyclopedia of Fashion. Translated by Claudia Rosoux. London: Paul Hamlyn, 1968. 608 pages. Index: 595-[605]. ISBN: none.
97.2 Kybalova, Ludmilla, Olga Herbenova, and Milena Lamarova. Encyclopedie Illustrée du Costume et de la Mode. 3rd ed. Prague: Artia; Paris: Grund, 1970. 600 pages. Index: 593-599. ISBN: 270003160.
995 B&W photographs and 32 colour plates of named and dated original costumes sources, mostly from artworks.
Covers ancient Egypt to the 1960s. Focus is predominantly on Western Europe, with an acknowledgement that Eastern Europe existed. A source book of pictures with captions and some commentary (in French, in the Artia/Grund edition). After a journey through the ages there is a discussion of the repertoire of garments and accessories, which also includes sections on topics such as children’s clothing, liturgical dress and beards. A good selection, interestingly grouped, although the usual complaint about grainy B&W photographs does at times apply. Certainly worth a look.
[SURVEYS; CHILDREN; ECCLESIASTICAL; ILLUSTRATIONS]


98 Lacy, Michael S. “The Development of the Coat of Plates: The Evolution of Cloth-Covered Armour, 1250-1500.” Compleat Anachronist. 69. 1993. 68 pages. Bibliography: 65-67.
78 B&W line-drawn figures from artworks and surviving armours, with diagrams of the arrangement of plates in surviving armours (especially those from Wisby) and patterns for reconstructing armours.
A major feature of early medieval defensive wear was armour consisting of plates of metal attached to or covered by cloth or leather, most commonly known as coats of plates, brigandines and covered breastplates. Originally submitted as a Masters thesis in history, this is a clear and well-documented look at the development of cloth-covered armours and the changes they underwent in the transition that eventually led to the transcendence of “white” (all-metal) armours. A good summary which makes its points well, with an end-section giving advice on building a coat of plates.
[ARMOUR; PATTERNS; 13th CENTURY; 14th CENTURY; 15th CENTURY]

Lamarova, Milena. See Kybalova, Ludmilla. The Pictorial Encyclopedia of Fashion.




99 Laver, James. Costume in the Theatre. London: Harrap, 1964. 223 pages. “Select bibliography”: [220]-223. ISBN: none.
Numerous B&W drawings, mostly of theatre costumes and mostly from after our time-period.
As its title suggests, more a history of theatrical costume than a history of costume. This has its uses: Laver’s information about 16th-century masques and fêtes is interesting, and his comments about the clothing of medieval and Shakespearean drama and Commedia dell’Arte are worth a look if you’re planning to stage a play.
[THEATRE – HISTORY; MASQUES; ENGLAND]


100 Laver, James. Costume through the Ages. London: Thames and Hudson, 1963. Plates drawn and arranged by Erhard Klepper (first published (in German?) 1961 by F.A. Herbig). 144 pages. ISBN: none
120 pages of B&W redrawings, each page with about half-a-dozen figures taken from artworks. Sources for the drawings are given in general terms at the end of the book.
A browser, but one reasonably true to the original sources. There is a German slant to selections from the Middle Ages. Laver’s name is attached to the work on the basis of a very brief introduction and some measure of personal fame.
[SURVEYS; ILLUSTRATIONS]


101 Laver, James. Early Tudor, 1485-1558. Vol. 3, no. 1 of Costume of the Western World. London, Harrap, 1951. 23 pages, followed by 40 pages of plates. Bibliography: 22. ISBN: none.
52 plates, 8 of them colour. All are of paintings, drawings and engravings–mostly portraits–from the period.
Good pictures, though some of the B&W plates lose detail through being on the dark side. All the regular portraits (including Anne of Cleves) and a few that are less well known.
[15th CENTURY; 16th CENTURY; TUDOR; ENGLAND]


102 Laver, James, and Amy de la Haye. Costume and Fashion: A Concise History. London: Thames and Hudson, c1995. Rev., exp. and updated ed. (World of art series.) 296 pages. First ed. published as A Concise History of Costume, 1969. “Select Bibliography” (of other costume books): [284]. Index: 293-296. ISBN: 0500202664.
335 reproductions of artworks through the ages, some in colour.
A survey of Western costume history from Sumeria to 1990s retro by the late Keeper of the Departments of Prints and Drawing and of paintings at the Victoria and Albert Museum, London, updated by Amy de la Haye. As you would expect, the chapters on medieval and Renaissance clothing (p. 50-102) are illustrated with well-known artworks. These are discussed in a chatty style which combines sweeping generalisation with detailed but unsupported observation: “About 1375 the cotehardie began to have a collar.” (p. 63).
[SURVEYS]


103 Linthicum, M. Channing. Costume in the Drama of Shakespeare and his Contemporaries. New York: Hacker Art Books, 1972. First published by Oxford University Press, Oxford, 1936. 307 pages. “Short title list of principal works cited”: [284]-294. “Principal works cited: Drama”: 295-297. ISBN: 0878171088.
20 B&W plates of portraits and surviving garments.
A delightful book, filled with quotes from plays and wardrobe accounts and useful for far more than Elizabethan or Jacobean costuming. This book is a regular baseline reference because it gathers and presents so much information on dyestuffs, types of textiles, colour names–which got quite fanciful in Elizabethan England–garments and clothing terms. The focus may be Elizabethan, but throughout the book there are references to earlier evidence for each colour, fabric or garment, making this useful to some degree for medieval clothing as well. Particularly interesting for its sections on things like costume fastenings or the use of cotton.
[ENGLAND; ELIZABETHAN; STUART; 16th CENTURY; 17th CENTURY; DYES and DYEING; TEXTILES; ACCESSORIES; COLOURS; FOOTWEAR; HEADGEAR]

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