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- La leggenda del filo d’oro: le vie della seta. Venice: Fantoni, 1952.

Exhibition sponsored by the Centro internazionale delle arti e del costume and held at Palazzo Grassi in Venice.

--. 1954. Women's Costume in the Eighteenth Century. Manchester, Manchester City Art Galleries.

20 pages of monochrome plates of items in the collection.

- Per una storia della moda pronta: problemi e ricerche. Florence: Edifir – Edizioni Firenze, 1991.

This volume provides several contributions on dress and textiles in Italy, as well as other European countries, and covers a date range from the sixteenth century to the present day. It is divided into several sections, including sections on ready-made clothing, on used clothing and on uniforms, and contains essays on ready-made clothing in Milan in the seventeenth and eighteenth century; on the trade in second-hand or ready-made clothing in Parma and in Genoa during the same period; on the production of knit-wear in Mantua in the 1500s and 1600s; on the uniforms documented in the Milanese archive; and on military uniforms in the region of the Veneto from the seventeenth century onwards.

Adams, S. 2005. Purchasers from the Parsonage: observations on Bath dress and reactive shopping by the Penrose family, 1766-1767, Costume, 39, 79-90.

Extracts from Letters From Bath by the Reverend John Penrose, 1766-1767 (eds. Brigitte Mitchell and Hubert Penrose) on the subject of dress. The letters record the reaction of an educated, simple, and forthright man to the diversions, absurdities, and materialism of Bath.

Allerston, Patricia. 1998. ‘Wedding Finery in Sixteenth-Century Venice’. In Marriage in Italy, 1300-1650. Ed. by T. Dean and K.J.P. Lowe. Cambridge: Cambridge University Press, pp.25-40.

Anthony, I. E. 1980. Clothing given to a servant of the late sixteenth century in Wales, Costume, 14, 32-40.

Transcript of a list of clothing c.1580-1610.

Arnold, J. 1973. A Handbook of Costume. London, Macmillan.

Ashelford, J. 1983. The Visual History of Costume: The Sixteenth Century. London, Batsford.

Ashelford, J. 1988. Dress in the Age of Elizabeth I. London, Batsford.

Azzali, M. 1990. Dizionario della moda. Bologna: Calderini.

Bertone, M.B. 1994. ‘Il costume tradizionale a Fagagna nella documentazione archivistica tra il ‘700 e l’800’. In Marinella Rapetti, ed. Abbigliamento tradizionale e costumi popolari delle Alpi: atti del convegno internazionale, Turin: Museo nazionale della montagna “Duca degli Abruzzi”, pp. 25-32.

Bigazzi, Isabella ed. 2007. Apparir con stile: guardaroba aristocratici e di corte, costumi teatrali e sistemi di moda. Florence: Edifir – Edizioni Firenze.

This volume contains a series of contributions by graduates of the Faculty of Letters, Philosophy and Architecture of the University of Florence. Their theses provide the base for a series of short essays focussing mainly on sixteenth-century Florence. These essays include detailed examinations of the clothes of two female members of the Medici family, Isabella de’Medici Orsino and Bianca Cappello, Grand Duchess of Tuscany, as well as the clothing of a noble Florentine couple: Giovanbattista Strozzi and Marietta Altoviti.

Bigazzi, Isabella. 1995. Dianora e Maddalena. Due donne e il loro corredo nella Firenze del XVII secolo. Florence: Polistampa.

Bonacina, G. 1983. ‘Tra tonache e cappe, tricorni e cappelli piumati spira aria di libertà e d’amor patrio’. In Gallio collegium Comense. Como.

Boucher, F. 1987. A History of Cosume in the West. London, Thames and Hudson.

Bradfield, N. 1981. Costume in Detail: Women's Dress 1730-1930. London, Harrap.

Browne, C. 2004. Lace from the Victoria and AlbertMuseum. London, Victoria and Albert Museum.

Buck, A. 1979. Dress in Eighteenth Century England. London, Batsford.

Buck, A. 1990. The clothes of Thomasine Petre 1555-1559, Costume, 24, 15-33.

Buck, A. 1991. Buying clothes in Bedfordshire: customers and tradesmen, 1700-1800, Textile History, 22(2), 211-237.

Buck, A. 1996. Clothes and the Child. Bedford, Ruth Bean.

Buck, A. 2000. Clothing and textiles in Bedfordshire inventories, 1617-1620, Costume, 34, 25-38.

Buck discusses clothing and textiles mentioned in the volume of 166 probate inventories of 1617-20 published by the Bedfordshire Historical Record Society in Bedfordshire, England, in 1938. The volume was a pioneer work in the detailed study of probate inventories, particularly those of people of lesser rank -husbandmen, yeomen, artisans, and labourers.

Buck, A. and Matthews, H. 1984. Pocket guides to fashion: ladies' pocket books published in England 1760-1830, Costume, 18, 35-58.

Butazzi, Grazietta. 1977. Il costume in Lombardia. Milan: Electa Editrice.

This work surveys fashion, costume and textile production in Milan and the Italian region of Lombardy from the the fourteenth to the nineteenth century. The accompanying illustrations are almost entirely paintings and drawings, rather than surviving materials.

Caso, A. 1981. ‘Per una storia della società milanese: i corredi nuziali nell’ultima età viscontea e nel periodo della Repubblica Ambrosiana (1433-1450), dagli atti del notaio Protaso Sansoni’. In Nuova Rivista Storica, LXV, fasc.5-6, pp. 521-551.

Cataldi Gallo, Marzia. 1997. ‘La moda a Genova nel primo quarto del Seicento’. In Van Dyck a Genova: grande pittura e collezionismo. Milan: Electa.

This essay examines the luxury clothing of some of the great Genoese families whose portraits provided the nucleus of the exhibition. The author discusses individual items of both male and female dress.

Cataldi Gallo, Marzia. 1994. ‘Per una storia del costume genovese nel primo quarto del Seicento’. In Susan J. Barnes and Arthur K.Wheelock, Jr, eds. Van Dyck 350. Washington: National Gallery of Art.
The essay includes the inventory of the goods of Giacomo Doria di Agostino, dated to 1613.

Ceruti, A. 1875. ‘Il corredo nuziale di Bianca Maria Sforza Visconti’. In Archivio Storico Lombardo, II,  pp.51-75.

Chappell, D. 2008. Sir William Heathcote's livery, Costume, 42, 66-87.

Chiarelli, Caterina, ed. 1997. Il salotto alla moda: nuove acquisizioni alla Galleria del Costume: tre abiti siciliani del Settecento. Leghorn: Sillabe.
Catalogue of an exhibition at the Galleria del Costume, Palazzo Pitti, Florence.

Chrisman, K. 2001. Mary Edward's taste and high life, Costume, 35, 21-13.

Mary Edwards's eccentric taste in fashion is examined in the context of her life and her close relationship with William Hogarth. This wealthy woman first shared her life and fortune with Lord Anne Hamilton, with whom she had a son, but in May 1734, she took steps to disassociate herself and her estate from him. She spent the remaining nine years of her life overseeing the management of her estates and the upbringing of her son, encouraging Hogarth and other emerging artists, and spending enormous sums on clothing and jewelry. Hogarth's conversation piece The Edwards Hamilton Family and the portrait Miss Mary Edwards, which were completed almost a decade apart, reveal a dramatic change in Edwards's dress and deportment during that time, as the mannered pose and unremarkable attire of the former work give no hint of the vast wealth and independent spirit that dominate the latter. The works show that independence gave Edwards the cash as well as the confidence to dress as extravagantly as she pleased. Moreover, the painting Taste in High Life, which she commissioned from Hogarth in 1742 in response to jibes about her own eccentric style of dress, shows that she was notorious enough to be the subject of satire and sufficiently bold to respond to her critics.

Chrisman-Campbell, K. 2004. French connections: Georgiana, Duchess of Devonshire, and the Anglo-French fashion exchange, Dress, 31, 3-14.

A frequent visitor to Paris and an intimate of Marie-Antoinette, Georgiana, Duchess of Devonshire, was a crucial link between French and English fashion at a time in history when each country relied upon the other for inspiration and innovation. Georgiana was one of England's primary tastemakers, serving not only to invent fashions, but also to inspire them. The true key to her sartorial success, however, was her privileged access to French fashions. Like Marie-Antoinette, she patronized celebrated marchande de modes Rose Bertin, who was nicknamed France's "Minister of Fashion." The duchess was instrumental in carrying French fashions, as well as news of the latest trends, from Paris to England. It is arguable that she was not so much a leader of English fashion as a prominent follower of French fashion. In turn, she helped to establish a fashion for English and Anglophile styles in France.

Cumming, V. 1984. The Visual History of Costume: The Seventeenth Century. London, Batsford.

Cumming, V. 2004. Understanding Fashion History. London, Batsford.

Cunnington, C. W. and Cunnington, P. E. 1972. Handbook of English Costume in the Seventeenth Century. London, Faber & Faber.

Cunnington, C. W. and Cunnington, P. E. 1972. Handbook of English Costume in the Eighteenth Century. London, Faber & Faber.

Cunnington, P. and Lucas, C. 1978. Charity Costumes of Children, Scholars, Almsfolk, Pensioners. London, A. and C. Black.

Cunnington, P. and Mansfield, A. 1969. English Costume for Sports and Outdoor Recreation from the Sixteenth to the Nineteenth Centuries. London, Adam & Charles Black.

Currie, Elizabeth. 2008. ‘Clothing and a Florentine Style, 1550-1620’. In Renaissance Studies, 23, issue 1, pp. 33-52.

Davanzo Poli, Doretta. 1980. ‘La moda nella Venezia del Palladio’. In Architettura e utopia nella Venezia del cinquecento. Milan: Electa.

Edwards, L. 1985. Dres't like a May-Pole, Costume, 19, 75-79.

Discussion of Verney suits with skirted breeches.

Ehrman, E. 2006. Dressing well in old age: the clothing accounts of Martha Dodson, 1746-1765, Costume, 40, 28-37.

A study of the clothing accounts of Martha Dodson, a wealthy widow of the gentry class in 18th-century England. Dodson's household accounts from June 1746, when she was 62 years of age, and June 25, 1765, three months before her death at 81 years of age, show her purchases of fabric and clothing, which were mostly made in London; her informal and undress wear; her outdoor garments; her stays and shoes; and the alteration, repair, and upkeep of her clothes. Studied in conjunction with the accounts of other contemporary gentry families, they shed light on the choice of goods available, consumer preference, and the balance of new purchases with the alteration and repair of existing items.

Facchinelli Mazzoleni, M.V. 1994. ‘Regola e licenza: gli abiti in seta a Brescia durante la dominazione veneta’. In La via bresciana della seta: catalogo della mostra, atti del convegno: Brescia, ottobre 1994. Brescia: Fondazione civiltà bresciana.

Fiorentini Capitani, Aurora and Stefania Ricci, eds. 1992. Il costume al tempo di Lorenzo il Magnifico: Prato e il suo territorio. Milan: Charta

Frick, Carole Collier. 2002. Dressing Renaissance Florence: Families, Fortunes & Fine Clothing. Baltimore: The Johns Hopkins University Press.

This volume examines various aspects of clothing in Florentine society during the fifteenth century, including their manufacture, buying and commissioning, their use, including resale and pawning, the legislation that arose to control their use, and their portrayal in art. The book is divided into three sections, the first part dealing with the guilds system, and focussing particularly on tailors; the second with the consumers at the high end of Florentine society, the amount of money they spent on clothes, and the motives and aspirations that lay behind their purchases; the third section is dedicated to individual items of clothing: how clothing differed across class and the sumptuary legislation that controlled it, the colours, fabrics and designs that were used, and finally, the depiction of contemporary clothing in Florentine art. There are also some useful appendices, including the trousseaux made for two women of the Minerbetti family.

Gent, L. and Llewellyn, N., eds. 1990. Renaissance Bodies: the Human Figure in English Culture. London, Reaktion Books.

Ginsburg, M. 1981. Wedding Dress 1740-1970. London, H.M.S.O.

Giorgetti, C. and E. Colarullo. 1994. Moda maschile dal 1600 al 1990. Florence.

Guérin Dalle Mese, Jeannine ed. 2002. Il vestito e la sua immagine: atti del convegno in omaggio a Cesare Vecellio nel quarto centenario della morte. Belluno: Provincia di Belluno, Assessorato alla Cultura.

This volume contains a series of contributions by an international selection of historians and curators. The first section is dedicated to Cesare Vecellio and dress and hairstyles from his costume book: De gli habiti antichi et moderni di diverse parti del mondo.... The second section examines clothing and fashions in sixteenth-century Italy, ranging from children’s clothing to peasants’ clothing. The third section branches out into the fields of jewellery, embroidery and furnishing textiles, again focussing on the sixteenth century, while the fourth section is dedicated to clothing and the art of disguise in sixteenth-century comedy, in Tasso and in Calvino. The final section views Renaissance dress in a more modern context – looking at sixteenth and seventeenth-century dress in film and photography.

Halls, Z. 1969. Women's Costumes 1600-1750. London, H.M.S.O.

Catalogue of the costume collection at the Museum of London with 21 monochrome plates and 2 folding patterns of mantuas.

Harrison, J. 2006. Stay & gumps, The Journal of the Family History Society of Cheshire, 36(3), 18-19.

Hart, A. and North, S. 1998. Historical Fashion in Detail: the Seventeenth and Eighteenth Centuries. London, Victoria and Albert Museum.

Harvey, A. and Mortimer, R., eds. 2003. The Funeral Effigies of Westminster Abbey. New York, Boydell.

The funeral effigies housed in their own quarters in the Norman undercroft are one of the most remarkable yet little-known treasures of Westminster Abbey. They derive from a time when an effigy of the dead monarch, statesman or national hero played an important part in funeral ritual, offering a visible likeness as a focus to the ceremonial of the funeral. Surprisingly moving when gathered together, this unexpected pantheon of celebrities includes remarkable medieval wood effigies and later wax figures in contemporary clothing. Among the unique and important group of portrait busts, the death mask of Edward III (1377) dates back to the beginnings of portraiture in medieval Europe; other fine examples include Henry VII, Charles II, Pitt, and Nelson. The collection is also remarkable for its rare historic costumes, including Charles II's Garter robes, Nelson's hat, extraordinary Georgian paste jewellery, rare early silks and shoes, and probably the oldest stuffed bird in England. Some objects are illustrated in this book for the first time, others since their damage in the last war and subsequent restoration. An account of the restoration, a history of the collection, and a discussion of the significance of each object accompany the detailed descriptions of the effigies. This book is the first substantial publication on the funeral effigies of Westminster Abbey since 1936.


Hashagen, J. and Levey, S. M. 2006. Fine & Fashionable: Lace from the Blackborne Collection. Barnard Castle, Bowes Museum.

Hayden, P. 1988. Records of clothing expenditure for the years 1746-79 kept by Elizabeth Jervis of Meaford in Staffordshire, Costume, 22.

Hefford, W. 1992. The Victoria and AlbertMuseum's Textile Collection: Design for Printed Textiles in England from 1750 to 1850. London, Victoria and Albert Museum.

Herald, Jacqueline. 1981. Renaissance Dress in Italy 1400-1500. London: Bell & Hyman.

Hill Cotton, Juliana. 1966. ‘Il lucco del Poliziano ed altre allusioni al lucco fiorentino’. In Italica XLIII, 4, pp. 353-368.

Hollander, A. 2002. Fabric of Vision: Dress and Drapery in Painting. London, National Gallery.

The role played by costume and drapery was examined in this exhibition curated by the costume historian Anne Hollander. It showed how artists, from the Middle Ages to the 20th century, have used clothing and drapery - real and imagined, sacred and secular - to give emphasis and emotional force to their figures. The exhibition included works by van der Weyden, Tintoretto, Van Dyck, Reynolds, Delacroix, Tissot, Vuillard and Picasso.

Huggett, J. 1999. Rural costume in Elizabethan Essex: a study based on the evidence from wills, Costume, 33, 74-88.

An examination of rural clothing in Essex using evidence from wills from the periods 1571-77 and 1597-1603. The wills provide a general picture of people with two or three sets of clothes, one of which was set aside for best or for Sundays. These were made of the same few inexpensive but hard-wearing fabrics, mainly russet and frieze, with leather and canvas as well for men; good-quality wools seem to have been nearly as little worn as silk.

Huggett, J. 2006. Children's Clothes: 1580-1660. Bristol, Stuart Press.

Jaster, M. R. 2006. "Clothing themselves in acres": apparel and impoverishment in medieval and early modern England, Medieval Clothing and Textiles, 2, 91-99.

Johnson, K. K. P., Torntore, S. J. and Eicher, J. B., eds. 2003. Fashion Foundations: Early Writings on Fashion and Dress. Oxford, Berg.

This text reprints classic fashion writings, all of which have had a profound if perhaps untrumpeted impact on our understanding and approach to modern day dress - from the psychology of clothes through to collective fashion trends. Why do we wear clothes? What do they say about our self-awareness and body image? How can we 'fashion' new identities through what we wear? Seminal fashion statements by Montaigne, William Hazlitt, Herbert Spencer, Thorstein B. Veblen, Adam Smith, Herbert Blumer, and Georg Simmel answer these questions and many more.

King, S. 2002. Reclothing the English poor, 1750-1840, Textile History, 33(1), 37-47.

King discusses the clothes provided to the poor under the communal welfare system in England from 1750 to 1840. Defining "the poor" as those dependent on communal relief under the old poor law and the first decade of the new poor law, he examines brief case studies from various parts of the country. He argues that absolutely and in comparison to the wider populations, the poor on relief were "well clothed" and that clothing the poor "well" became one of the basic tasks of the communal welfare system, pointing out that the poor law was at places and at times, generous and sensitive to the relationship between actual and perceived poverty. King suggests that the poorest clothing was associated not with those who received communal relief but with the marginal poor who struggled to avoid dependency.

Lambert, M. 2004-05. "Small presents confirm friendship": the "gifting" of clothes and textiles in England from the late seventeenth to the early eighteenth centuries, Text, 32, 24-32.

Lazzi, G. 1986. ‘Abbigliamento e costume nella Firenze dei primi Granduchi: fonti e documenti’. In La famiglia e la vita quotidiana in Europa dal ‘400 al ‘600. Fonti e problemi. Atti del convegno internazionale, Milano 1-4 dicembre 1983. Rome: New Press, pp. 295-319.

Levey, S. M. 1983. Lace: A History. London, Victoria and Albert Museum.

Comprehensive survey of European lace with over 600 monochrome plates.

Levey, S. M. 2000. References to dress in the earliest account book of Bess of Hardwick, Costume, 34, 13-24.

Levi Pisetzky, Rosita. 1964-1969. Storia del costume in Italia 5 vols. Milan: Istituto editoriale italiano.
Key work on Italian dress history, including both male and female dress, as well as accessories.

Llewellyn, S. 1997. "Inventory of her Grace's things, 1747": the dress inventory of Mary Churchill, 2nd Duchess of Montagu, Costume, 31.

Liscia Bemporad, Dora, ed. 1988. Il costume nell’età del Rinascimento. Florence: Edigir.

Key text with essays on a variety of subjects, ranging from the inventory of a Venetian courtesan in the sixteenth century, to fifteenth-century Florentine accessories, to clothing at the Gonzaga court and to shoes and shoe-making.

Maeder, E. 1983. An Elegant Art: Fashion and Fantasy in the Eighteenth Century. New York and Los Angeles, Harry Abrams and Los Angeles County Museum.

Malcolm-Davies, J. 2002. "And at the Plastron Push": the historical development of fencing kit, Costume, 36, 100-111.

Investigation of the development of specialized garments for the sport of foil fencing from the late sixteenth century to the First World War. Paper given at the Costume Society Symposium, Royal Armouries Museum, 2 July 1999.

Mee, S. 2004. The clothing of Margaret Parnell and Millicent Crayforde, 1569-1575, Costume, 38, 26-40.

This detailed clothing information is of particular interest as it relates to a period covered by frequent sumptuary legislation, which aimed to stipulate the types of fabrics and trimmings that could be worn by members of each level of society. Mee examines in detail the clothing of the Crayforde girls in the order that they would have been dressed, as well as discussing hose, shoes, and other accessories.

Merkel, C. 1893. ‘Tre corredi milanesi del Quattrocento’ in Bullettino dell’Istituto Storico italiano.

Merkel, C. 1898. Come vestivano gli uomini del Decameron: saggio di storia del costume. Rome.

Morini, Enrica. 2000. Storia della moda XVIII-XX secolo. Milan: Skira.

Morris, R. 2005. Textiles and Materials of the Common Man and Woman, 1480-1580. Bristol, Stuart Press.

Morris, R. and Huggett, J. 2003. Clothes of the Common Man, 1480-1580. Bristol, Stuart Press.

Morris, R. and Huggett, J. 2003. Clothes of the Common Woman, 1480-1580. Bristol, Stuart Press.

Mutinelli, F. 1831. Del costume veneziano sino al secolo decimosettimo. Venice: Tipografia di commercio.

Muzzarelli, Maria Giuseppina. 1999. Guardaroba medievale. Vestiti e società dal XIII al XVI secolo. Bologna: Il Mulino.

Nevinson, J. L. 1934. Men's costume in the Isham Collection, Connoisseur, XCIV, 313-320.

Includes monochrome plates of items from the Isham Collection, Victoria and Albert Museum.

Nevinson, J. L. 1934. New material for the history of seventeenth century costume in England, Apollo, XX, 315-319.

Monochrome plates of items in the collection at Claydon House, near Aylesbury.

Nevinson, J. L. 1936. English embroidered costume: Elizabeth and James I, Connoisseur, XCVII(1 & 2), 25-29 & 140-144.

Nevinson, J. L. 1939. English embroidered costume in the collection of Lord Middleton: Part II, Connoisseur, CIII, 136-141.

Nevinson, J., ed. 1973. Designs of Modern Costume, 1812, engraved for Thomas Hope of Deepdene by Henry Moses. London, Costume Society.

Nevinson, J., ed. 1977. Mundus Muliebris, The ladies dressing-room unlock'd, 1690, by Mary & John Evelyn. Costume Society Extra Series, 5, The Costume Society.

Nevinson, J. L. 1978. The dress of the citizens of London, 1540-1640. In: J. Bird, H. Chapman and J. Clark, eds. Collectanea Londiniensia: Studies in London archaeology and history presented to Ralph Merrifield, London, London and Middlesex Archaeological Society, 265-286.

Nevinson, J. L. 1981. A sixteenth-century doublet. In: M. Flury-Lemberg and K. Stolleis, eds. Documenta Textilia: Festschrift für S. Müller-Christensen, Munich, Deutscher Künstverlag, 371-375.

Discussion of satin doublet at Hever Castle, Kent.

Newton, Stella Mary. 1988. The Dress of the Venetians, 1495-1525. Aldershot: Scolar Press.

This work deals with both male and female dress in Venice, as well as official and cerimonial clothing, and Venetian dress during carnival and other festivities.

Niccoli, Bruna. 1995. Il costume a Lucca: contenuti e problemi di moda dalla repubblica al principato. Lucca: Maria Pacini Fazzi.

Niccoli, Bruna. 2000. Costumi a Pisa. Note a margine ad alcune incisioni tra XVI e XIX secolo. Pisa: ETS.
Includes an appendix: ‘Statuti et ordinazioni sopra il vestire della città di Pisa, suo contado del di 4 Marzo 1563’.

Nunn-Weinberg, D. 2006. The matron goes to the masque: the dual identity of the English embroidered jacket, Medieval Clothing and Textiles, 2, 151-173.

The author considers the 100 or so portraits for women wearing embroidered jackets and divides them into two groups, one of these being masque costume. She then dissects the painting of Elizabeth Vernon and concludes it shows her dressing for a masque.


O'Connell Edwards, L. 2000. Bibliography of the history of knitting before 1600, CIETA Bulletin, 77, 141-155.

Orsi Landini, Roberta. 1990. ‘Materia e forma: tessuti e fogge del vestire femminile nei secoli XVIII e XIX’. In La Galleria del Costume 4. Florence: Centro Di, pp. 11-21.

Polidori Calamandrei, E. 1973 (first published 1924). Le vesti delle donne fiorentine nel quattrocento. Rome: Multigrafica.

Pyne, W. H. Pynes's British Costumes: An Illustrated Survey of Early Eighteenth-Century Dress in the British Isles, 1805. Ware, Wordsworth Editions.

Quondam, Amedeo. 2007. Tutti i colori del nero: moda e cultura del gentiluomo nel Rinascimento. Costabissara (Vicenza): Angelo Colla Editore.

This short volume discusses men’s clothing and fashion in sixteenth-century Italy. It examines the significance of particular colours, Spanish influences, and the shift from a predilection for multi-coloured dress to a more sober fashion that gained its value as a status-symbol from the design of the clothing and the subtle variations in the tonalities of black employed. Also included are a selection of colour photographs, mostly portraits.

Ribeiro, A. 1983. The Visual History of Costume: The Eighteenth Century. London, Batsford.

Ribeiro, A. 1984. The Dress worn at Masquerades in England, 1730 to 1790, and its Relation to Fancy Dress in Portraiture. New York & London, Garland.

Ribeiro, A. 1995. The Art of Dress: Fashion in England and France, 1750 to 1820. New Haven & London, Yale University Press.

Ribeiro, A. 1998. Reading dress in Hogarth's "Marriage a la mode", Apollo, 147, 49-50.

Ribeiro, discusses the meaning of dress in 18th-century British artist William Hogarth's series Marriage a la mode. Throughout the series, Hogarth uses clothing, furnishings, and background paintings to illustrate morals. Through clothing, Hogarth imparts a language of meaning and conveys how people relate to each other and to society in general. Hogarth knows that while clothing may distort the body, it can, for women in particular, act as a protective armour against life's dangers.

Ribeiro, A. 2000. The Gallery of Fashion. London, National Portrait Gallery.

Ribeiro, A. 2002. Dress in Eighteenth-Century Europe 1715-1789. New Haven & London, Yale University Press.

A revised enlarged edition of the original publication of 1984.

Rose, C. 1996. A group of embroidered eighteenth-century bedgowns, Costume, 30.

Rose, C. 2000. Quilting in eighteenth century London: the objects, the evidence, Quilt Studies, 2, 11-30.

Rosseau, B. 2005. Early-seventeenth-century English embroidered jackets, Piecework, 13(1), 30-34.

Rosseau focuses on a jacket worn by Margaret Laton for a portrait now in the Victoria and Albert Museum, which features an embroidery pattern consisting of a scrolling vine arrayed with flowers, fruit, birds, and insects.

Rossebastiano, A. 1988. Il corredo nuziale nel Canavese del Seicento. Contributo alla storia della lingua e della cultura. Alessandria.

Rothstein, N., ed. 1987. Barbara Johnson’s Album of Fashions and Fabrics. London, Thames and Hudson with Victoria and Albert Museum.

Rothstein, N. 1990. Silk Designs of the Eighteenth Century. London, Thames and Hudson with Victoria and Albert Museum.

Rothstein, N. 1994. The Victoria and AlbertMuseum's Textile Collection: Woven Textile Design in Britain from 1750 to 1850. London, Victoria and Albert Museum.

Rothstein, N. 1994. The Victoria and AlbertMuseum's Textile Collection: Woven Textile Design in Britain to 1750. London, Victoria and Albert Museum.

Rothstein, N., ed. 1999. Four Hundred Years of Fashion. London, Victoria and Albert Museum.

Rowley, C. 1976. Costume in ChertseyMuseum, 1700-1800, Chertsey Museum.

Russell, S. 2006. Restoration Londoners: a rare view of the City and its inhabitants in 1660, Apollo, 164, 48-55.

Russell examines a previously unknown painting that depicts a crowd of Londoners watching the ceremonial arrival of the Prince de Ligne in 1660. She explains that the painting, which still hangs in the Chateau of Beloeil, the Belgian home of the De Ligne family, records the scene on Tower Wharf as the prince arrived to convey the congratulations of Philip IV of Spain to the newly reinstated Charles II. She asserts that this hitherto unrecognized major work provides a unique view of London in the years before the Great Fire, and may also prove to be the most important known source of information relating to English contemporary dress at the Restoration. Dhe suggests that it is the work of Brussels artist Francois Duchatel. She argues that, both as a social document and as a topographical record, the painting is clearly a unique, eyewitness account.

Saunders, A. S. 2002. A Bedlam gown, Costume, 36, 45-49.

Discussion of the provision of clothing for a poor parishioner who was admitted to the Royal Bethlehem Hospital in the mid 17th century.

Saunders, A. S. 2006. Provision of apparel for the poor in London, 1630-1680, Costume, 40, 21-27.

Using parish records and other documents, Saunders shows the various forms of relief given by parish vestries to the poor; the type of apparel provided for men, women, and children; the sums spent by both richer and poorer parishes; and some of the citywide institutions that cared for orphans and foundling children.

Saxl, Fritz. 1988. ‘Costumi e feste della nobiltà milanese negli anni della dominazione spagnola’. In Saxl, Fritz et al eds. Il libro del sarto della Collezione Querini Stampalia di Venezia. Modena: Panini, pp. 31-55.

Saxl, Fritz. 1937. ‘Costumes and Festivals of Milanese Society under Spanish Rule’. In Proceedings of the British Academy, 23. London.

Spiers, C. H. 1973. Deer skin leathers and their use for costume, Costume, 7, 14-23.

Covers the sixteenth and seventeenth centuries.

Spufford, M. 1984. The Great Reclothing of Rural England: Petty Chapmen and their Wares in the Seventeenth Century. London, Hambledon Press.

Spufford, M. 2000. The cost of apparel in seventeenth-century England and the accuracy of Gregory King, Economic History Review, 53(4), 677-705.

Spufford, M. 2003. Fabric for Seventeenth-Century Children and Adolescents' Clothes, Textile History, 34, 47-63.

Staniland, K. 1997. Getting there, got it: archaeological textiles and tailoring in London, 1330-1580. In: D. Gaimster and P. Stamper, eds. The Age of Transition: The Archaeology of English Culture 1400-1600, Oxford, Oxbow Books, 239-249.

Staniland, K. 2005. Samuel Pepys and his wardrobe, Costume, 39, 53-63.

Staniland quotes extensively from Pepys's diary on topics such as his silk suit, velvet coat made for the coronation of Charles II in April 1661, his decision to wear a muff in November 1662, and his uncertainty as to whether he should wear a wig or not.

Stern, E. 1981. Peckover and Gallyard, two sixteenth century Norfolk tailors, Costume, 15, 13-23.

Tailors' bills and purchases of materials from household accounts of the Stiffkey Bacons for 1587-97.

Stevenson, S. and Bennett, H. 1978. Van Dyck in Check Trousers: Fancy Dress in Art and Life, 1700-1900. Edinburgh, Scottish National Portrait Gallery: Trustees of the National Galleries of Scotland.

Styles, J. 1994. "Clothing the North": the supply of non-elite clothing in the eighteenth century north of England, Textile History, 25(2).

Styles, J. 2002. Involuntary consumers? Servants and their clothes in eighteenth-century England, Textile History, 33(1), 9-21.

In the opinion of the elite at this time, no group of workers was more guilty of sartorial extravagance than servants, primarily female household servants. Historians have generally endorsed these opinions, but some have argued that it does not necessarily follow that servants contributed directly to an expansion in the overall demand for clothes, as their access to expensive fashions was only made possible by hand-me-downs from their employers. Styles examines the evidence of the records of Robert Heaton, a Yorkshire worsted manufacturer and small landowner in the later 18th century. He asserts that, if Heaton's servants were representative, most female servants bought not only cheap everyday clothes but also decorative and stylish items, without having to rely on hand-me-downs. He concludes that female servants at this time thus comprised a financially circumscribed, but huge and free-spending market, for new and fashionable clothing.

Taylor, L. 1983. Mourning Dress: a Costume and Social History. London, Allen and Unwin.

Taylor, L. 2002. The Study of Dress History. Manchester, Manchester University Press.

Outlines the full range of current academic approaches to dress history, from object-centred research, to study based on oral history, art history, ethnography, the use of literature, photographs and film, material culture and cultural studies methods.

Taylor, L. 2004. Establishing Dress History. Manchester, Manchester University Press.

A study of the historiography of dress and of dress collections in a museum context.

Tiramani, J. 2005. The Sanders portrait, Costume, 39, 43-52.

Adapted from a paper presented at the "Picturing Shakespeare" symposium, University of Toronto, Canada, November 2002. An attempt to determine whether, based on an analysis of its clothing, the Sanders Portrait is in fact a portrait of William Shakespeare. According to the family tradition of the owner of the portrait, dated to 1603, it was painted by John Sanders. An examination of the portrait in 1909 revealed the word "Shakspere" on a small linen rag paper label on the back (since lost). The most significant aspect of the clothing appears to be the extremely closely spaced silver laces of the doublet. Under the "A proclamation against excesse in Apparell, 6 July 1597," none shall wear gold or silver lace under the degree of a baron's son, except gentlemen in ordinary Office, attending upon Her Majesty in her house or chamber. However, as Shakespeare was made a King's player by James I on May 19, 1603, he may have had the right to wear such clothing.

Tobin, S., Pepper, S. and Willes, M. 2003. Marriage à la Mode, Three Centuries of Wedding Dress. London, National Trust.

Tramontana, Salvatore. 1993. Vestirsi e travestirsi in Sicilia. Abbigliamento, feste e spettacoli nel Medioevo. Palermo: Sellerio.

Varese, Ranieri and Butazzi, Grazietta eds. 1995. Storia della moda. Bologna: Edizioni Calderini.

This volume gathers together the texts from the seminars that took place during a course held in 1990-1991 at the Istituto di Storia dell’Arte ed Estetica in Urbino. The essays discuss both male and female dress in the period from the sixteenth to the nineteenth century and include the whole of Western Europe in their range, although there is particular focus on Italy and France. The contributions range from Italian costume books and French fashion plates to fashion, status and sumptuary legislation, to personal hygiene in the eighteenth and nineteenth centuries.

Venturelli, Paola. 1994. ‘Milano 1577: il guardaroba di casa Borromeo. Alcune osservazioni’. In Archivio Storico Lombardo, CXX, pp.445-61.

Venturelli, Paola. 1994. ‘L’apparire delle Dame milanesi. Abbigliamento tra il 1602 e il 1712’. In A. Cascetta, ed. Aspetti della teatralità a Milano nell’età barocca. Milan: Vita e Pensiero, pp.165-188.

Venturelli, Paola. 1994. ‘L’abbigliamento tradizionale femminile di Premana e dintorni negli atti dotali tra il 1734 e il 1790: affinità, dipendenze, autonomie’. In Marinella Rapetti, ed. Abbigliamento tradizionale e costumi popolari delle Alpi: atti del convegno internazionale, Turin: Museo nazionale della montagna “Duca degli Abruzzi”.

Vincent, S. 1999. To fashion a self: dressing in seventeenth-century England, Fashion Theory, 3(2), 197-218.

Clothing occupied a very particular place in 17th-century English culture. At that time, dress awareness was not limited to middle- and upper-class women but equally--if not more so--to men. Clothing became a key determinant of economic identity, as sartorial state was repeatedly described by those who sought to make their pecuniary position clear. The way an individual dressed had therefore the potential power to determine placement in the social ranking while also potentially affecting the expression of personality and even producing forms of differently gendered behavior. Analysis of the circulation of clothing clarifies the effects of gifted garments on the relationship between the giver and the recipient, and an examination of gloves illustrates the variety of meanings that could adhere to a specific item of clothing.

Waugh, N. 1954. Corsets and Crinolines. London, Batsford.

Waugh, N. 1964. The Cut of Men's Clothes, 1600-1900. London, Faber.

29 pages of plates, 42 cutting diagrams and 27 tailor's patterns.

Waugh, N. 1968. The Cut of Women's Clothes, 1600-1930. London, Faber.

71 pages of plates, 75 cutting diagrams and 54 tailor's patterns.

Weatherill, L. 1991. Consumer behavior: textiles and dress in the late seventeenth and early eighteenth centuries, Textile History, 22(2), 297-310.




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