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ACCESSORIES

Accessories have been grouped into the following categories:

HEADWEAR, hairstyles, wigs

1. ACCESSORIES - GENERAL

2004. Frocks and Fripperies: Ladies' Dress and Accessories from the Seventeenth to Twentieth Century. Lincoln, Usher Gallery.

Arnold, J. 2008. Patterns of Fashion 4. The Cut and Construction of Linen Shirts, Smocks, Neckwear, Headwear and Accessories for Men and Women c.1540-1660. London, Macmillan.

Halls, Z. 1973. Coronation Costume and Accessories 1685-1953. London, H.M.S.O.

Morris, R. 2001. Headwear, Footwear and Trimmings of the Common Man and Woman 1580-1660. Bristol, Stuart Press.

2. ACCESSORIES – HEADWEAR

Baker, M. 2004. "No cap or wig but a thin hair upon it": Hair and the male portrait bust in England around 1750, Eighteenth-Century Studies, 38(1), 63-77.

Buckland, K. 1979. The Monmouth Cap, Costume, 13, 23-37.

Discusses knitted caps of the sixteenth and seventeenth centuries.

Clabburn, P. 1977. A provincial milliner's shop in 1785, Costume, 11.

Clark, F. 1988. Hats. London, Batsford.

Cliff, K. 2001. Mr Lock, hatter to the ladies, 1783-1805, Costume, 59-65.

A brief survey of hats ordered by lady customers of James Lock's hatmaking business in London. Founded by Robert Davis in 1676, this business was eventually inherited by his son-in-law, James Lock I, upon Davis's death. Lock ran it from 1783 to 1805, taking his son George James Lock into copartnership in 1794 and retiring shortly afterward to leave his son to carry on it. A number of surviving ledgers covering the period between 1783 and 1805 provide a picture of the different ways in which ladies "shopped" at Lock's and the way in which families remained as loyal customers. A brief discussion of hat types produced by the business is followed by a list of ladies' hat orders.

Devitt, C. 2007. 'To Cap it All': The Waterford Cap of Maintenance, Costume, 41, 11-25

The article introduces the cap and letter dated the 30 April 1536 sent to the mayor and inhabitants of the City of Waterford by King Henry VIII, traces the history of caps of maintenance in England prior to that and points to its apparent uniqueness being officially styled as a cap of maintenance in a royal letter for use in mayoral ceremonial.

It also introduces William Wyse the bearer of the cap; educated at court and later Mayor of Waterford. It discusses Wyse and Waterford's loyalty during the Geraldine rebellion, how the cap was a token of the king's recognition of Waterford, and grants of land and a knighthood to Wyse. A record of the history and use of the cap is made, comparing it with contemporary royal caps of maintenance and caps/hats of fashion. Its assembly, materials and decoration are recorded and discussed.

Hayward, M. 2002. The sign of some degree? The social, financial and sartorial significance of male headwear at the court of Henry VIII and Edward VI, Costume, 36, 1-17

The writer examines a cross section of male headwear worn at the courts of Henry VIII and Edward VI. More so than any other garment, in 16th-century England the hat was integrally linked with social standing, age, and affluence, and it was therefore an essential accessory for all but the poorest man. The writer considers the significance of male headwear in three contexts: as a record of materials and makers, an indication of individuality or corporate identity, and a mark of authority or dependence. Noting that a great deal of the evidence is concerned with the monarch and the opulence of royal headwear, she discusses Henry VIII's weakness for hats, noting that he used them to demonstrate his place at the top of the social order.

Mackenzie, A. 2004. Hats and Bonnets from Snowshill, one of the World's Leading Collections of Costume and Accessories of the 18th and 19th Centuries. London, National Trust.

Nevinson, J. L., ed. 1970. The Exact Dress of the Head, 1725-6, by Bernard Lens. Costume Society Extra Series No. 2, Costume Society.

30 monochrome plates reproduced from a book of drawings in the Victoria and Albert Museum.

Pointon, M. 1993. Dangerous excrescences: wigs, hair and masculinity. In: Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England, New Haven and London, Yale University Press, 107-139.

Rosenthal, A., ed. 2004. Hair (Special Issue of Eighteenth-Century Studies, Volume 38, Number 1, Fall 2004). Baltimore, John Hopkins University Press.

Smith, J. H. 1980. The Development of the English Felt and Silk Hat Trades 1500-1912 (unpublished Ph. D. thesis, University of Manchester).

3. ACCESSORIES –SCARVES AND ‘WRAPS’

Mackrell, A. 1986. Shawls, Stoles and Scarves. London, Batsford.

Sherrill, T. 2006. Fleas, fur and fashion: zibellini as luxury accessories in the Renaissance, Medieval Clothing and Textiles, 2, 121-150.

This article focuses on the small fur pelt worn round the neck in the late fifteenth and sixteenth centuries.

4. ACCESSORIES –BAGS, PURSES, POCKETS

Burman, B. and Denbo, S. 2006. Pockets of History: the Secret Life of an Everyday Object. Bath Museum of Costume.

Foster, V. 1982. Bags and Purses. London, Batsford.

5. ACCESSORIES – GLOVES

Cumming, V. 1982. Gloves. London, Batsford.

Tittler, R. 2006. Freemen's gloves and civic authority: the evidence from post-Reformation portraiture, Costume, 40, 13-20.

The writer examines the symbolic use of gloves in the portraits of English civic officials from the post-Reformation period between ca. 1560, when civic portraits first started to appear with any frequency, and ca. 1640. Townspeople and others would have understood gloves worn, displayed, or portrayed in the civic context as reflective of the personal status of a freeman as well as of the civic authority of the freemanry as the civic and often corporate governing body of the borough community. In addition, they would have understood the symbolic distinction between the gloves of a mayor and those worn by members of the landed elite. Therefore, the display of gloves in civic portraits, along with the civic type of portrait itself, offers an important, widespread, and widely understood claim to the civic identity of specific towns and to the growing authority of civic bodies in general at that time.

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6. ACCESSORIES – FANS

Alexander, H. 2002. Fans. Princes Risborough, Shire.

A new version, with coloured illustrations, of the original publication of 1984.

Alexander, H. 2001 The Fan Museum. Lingfield, The Fan Museum, London in association with Third Millenium Publishing.

Hart, A. and Taylor, E. 1998. Fans. London, Victoria and Albert Museum.

Newman, J., Leveque, M. and Smith, L. 1987. An interspecialty approach to the conservation of multi-media objects: the conservation of a collection of fans. In: Preprints of Papers Presented at the Fifteenth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works, Vancouver, British Columbia, Canada, May 20-24, 1987 American Institute for Conservation of Historic and Artistic Works, 85-98.

A team of conservators with expertise in textiles, objects, and paper, was formed to plan and execute the conservation of the 150 most significant fans from the collection of costume accessories of the Museum of Fine Arts, Boston. The fans date from the 16th century to the present, and originate in the United States, Europe, and the Far East. Materials and construction, and damages resulting from use as costume accessories, storage and display, and previous repair, are described. Methods of conservation are given.

7. ACCESSORIES – FOOTWEAR

Chapman, S. 2002. Hosiery and Knitwear: Four Centuries of Small-Scale Industry in Britain, c.1589-2000. Oxford, Oxford University Press.

Farrell, J. 1992. Socks and Stockings. London, Batsford.

Flood Kenton, D. 2000. Hand knit hose: a knitted stocking pattern, Garde Robe Årsbok, 1999, 53-58.

Discussion of hand-knitted stockings including pattern of the Gunnister men's hose, from Shetland c.1700.

McCarthy, D. 1986. A case study: the treatment of a pair of sixteenth century shoes, ICCM Bulletin, 12(1-2), 83-87.

A very rare example of 16th-century footwear was restored in the textile conservation and restoration workshop, Fremantle. Linen embroidered shoes with heels became fashionable in the late 16th century when they replaced slip-on, flat shoes. The embroidery, with flower, fruit and bird motifs typical of the Elizabethan period, was in multi-coloured silks and silver threads. The embroidery stitches are described. Silver sequins had also been used but only four remain on one shoe, none on the other. In 1957 the shoe fabric had been consolidated using cmc with o.1% mercuric chloride added as insecticide/fungicide, but this made the shoes stiff and brittle. After analysis and colour fastness tests the labels were removed by moistening the paper and lifting off. Then the shoes were washed. This removed much dirt and cmc. The leather was consolidated, after humidification, with peg 600. The shoes were padded out with silk/dacron, then placed in a box on shapes carved out of polyurethane foam.

Riello, G. 2006. A Foot in the Past: Consumers, Producers and Footwear in the Long Eighteenth Century. Oxford, Oxford University Press.

Part of a special section on dress and gender. An analysis of French and English footwear in the so-called long 18th-century. The writers shows how in the long 18th century, attitudes towards shoes and their merchandising were inextricably linked to intertwined and gendered notions of nationhood, health, and science. Starting with the physicality of the historical body, they also demonstrate how the changing nature of the built landscape in the cities and towns of Enlightenment Europe led to new relationships between footwear, wearers, and walking. They argue that limitations in enjoying the physical space of the city and town translated themselves into cultural, social, and psychological restraints, thus connecting national debates over fashionability, practicality, health, and the gendered body.

Riello, G. and McNeil, P. 2005. The art and science of walking: mobility, gender and footwear in the long eighteenth century, Fashion Theory, 9(2), 175-204.

Riello, G. and McNeil, P., eds. 2006. Shoes. A History from Sandals to Sneakers. Oxford, Berg.

Swann, J. 1982. Shoes. London, Batsford.

8. ACCESSORIES – JEWELLERY

Arnold, J., ed. 1980. 'Lost from Her Majesties back': items of clothing and jewels lost or given away by Queen Elizabeth I between 1561-1585, entered in one of the day books kept for the records of the Wardrobe of Robes. Costume Society Extra Series, Costume Society.

Collins, A. J. 1955. Jewels and Plate of Queen Elizabeth I: the Inventory of 1574. London, British Museum.

Hackenbroch, Y. 1980. Renaissance Jewellery. London, Sotheby Parke Bernet.

Numerous monochrome and colour plates covering all types of jewellery from the late fifteenth to the early seventeenth century.

Hayward, J. 1986. The Arnold Lulls book of jewels and the court jewellers of Queen Anne of Denmark, Archaeologia, 108, 227-237.

Ribeiro, A. 1978. Eighteenth-century jewellery in England, The Connoisseur, (October).

Scarisbrick, D. 1984. Jewellery. London, Batsford.

Scarisbrick, D. 1994. Jewellery in Britain, 1066-1837. Wilby, Michael Russell.

Scarisbrick, D. 1991. Anne of Denmark's jewellery inventory, Archaeologia, 109, 193-238.

Discussion of the jewellery inventory of Anne of Denmark, wife of James I of England.

Scarisbrick, D. 1995. Tudor and Jacobean Jewellery. London, Tate Publishing.

Somers Cocks, A., ed. 1980. Princely Magnificence: Court Jewels of the Renaissance 1500-1630. London, Debrett's Peerage in association with the Victoria and Albert Museum.

Exhibition catalogue with numerous colour and monochrome plates.

9. ACCESSORIES –FASTENINGS

Gaimster, D., Hayward, M., Mitchell, D. and Parker, K. 2002. Tudor silver gilt dress hooks: a new class of treasure find in England, Antiquaries Journal, 82, 157-196.

Hudson, E. 2005. Fastening clothes, Bulletin of the Costume Society of Scotland, 45, 16-21.

Knight, P. 2004. The Macclesfield Silk Button Industry: The Probate Evidence, Textile History, 35(2), 157-177.

Most histories of the silk industry in England begin with the arrival of French refugees to Spitalfields in London, yet silk was prepared for embroidery in Macclesfield by the Middle Ages and the silk button trade was well-established by the early modern period. Through the study of probate evidence, this article aims to redress the imbalance in the historiography of the silk industry in England away from the focus on the activities of the Huguenots in the early modern period, and away from silk weaving in order to show that the silk button industry succeeded not through technical innovation, but through marketing a luxury item in sufficiently small packages to make it accessible to a wide portion of the population. The silk button industry can be viewed as having laid the foundations in east Cheshire for the transformation of the silk industry into weaving cloth in the mid-eighteenth century.

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