Tapestry Conservation: Principles and Practice explores current practice and recent research in tapestry conservation, promoting awareness of recent developments among conservators and custodians of tapestries. The book facilitates more informed conservation practice and decision-making, and helps custodians to select the most appropriate method of intervention.

Winner of 'History Book of the Year' in Scotland's National Book Awards 2021 A brilliant book revealing the complex messages that Stuart fashion conveyed about individual rulers' personalities, and about kingship more broadly This is the first detailed analysis of elite men's clothing in 17th-century Scotland and its influence on English male fashion. Focusing on the years 1566 through 1701, it centers on the clothing choices of five Stuart royals: James VI and I, Prince Henry, Charles I, Charles II, and James VII and II. The engaging text brims with details about the wardrobes and habits of Scottish royalty, such as how the men selected fabric and kept clothes clean. The book is organized along three themes: the significance of the Stuarts' Scottish heritage in the style they developed; the role of Scots in exporting their style to London and beyond; and the reception of Stuart style among the male elite in Scotland. Maria Hayward explores how Stuart style was displayed in sport, at political and social events, and at church. The book also reveals the importance of vital supporting players-namely, the courtiers who helped kings and princes develop their style, as well as the tailors who disseminated it to men beyond the royal court.

Tapestry Conservation: Principles and Practice explores current practice and recent research in tapestry conservation, promoting awareness of recent developments among conservators and custodians of tapestries. The book facilitates more informed conservation practice and decision-making, and helps custodians to select the most appropriate method of intervention.

English dress in the second half of the sixteenth century has been studied in depth, yet remarkably little has been written on the earlier years, or indeed on male clothing for the whole century. The few studies that do cover these neglected areas have tended to be quite general, focusing upon garments rather than the wearers. As such this present volume fills an important gap by providing a detailed analysis of not only what people wore in Henry's reign, but why. The book describes and analyses dress in England through a variety of documents, including warrants and accounts from Henry's Great Wardrobe and the royal household, contemporary narrative sources, legislation enacted by Parliament, guild regulations, inventories and wills, supported with evidence and observations derived from visual sources and surviving garments. Whilst all these sources are utilised, the main focus of the study is built around the sumptuary legislation, or the four 'Acts of Apparel' passed by Henry between 1509 and 1547. English sumptuary legislation was concerned primarily with male dress, and starting at the top of society with the king and his immediate family, it worked its way down through the social hierarchy, but stopped short of the poor who did not have sufficient disposable income to afford the items under consideration. Certain groups - such as women and the clergy - who were specifically excluded from the legislation, are examined in the second half of the book. Combining the consideration of such primary sources with modern scholarly analysis, this book is invaluable for anyone with an interest in the history of fashion, clothing, and consumption in Tudor society.

This is the first of three volumes of commentary to be published, which will consist of twenty-four essays written by the leading experts on Tudor art and artefacts and which will discuss the principal categories recorded in the Inventory in their historical and archaeological context. Among the subjects covered in Volume II are the tapestry collection of Henry VIII, accounts of the tents and revels, which provided the settings and costumes for court entertainments, and the Great Wardrobe, which served as a warehouse for the King's large and valuable stores of textiles, and a study of the vestments and textiles associated with royal worship. Altogether, the essays in this volume combine the histories of material culture, religion, politics and ceremony in a unique way that would not have been possible before the establishment of the Inventory Project twenty years ago. The essays are richly illustrated, with many of the plates in colour and where possible, images of surviving pieces have been included. Volume II will be followed by two further volumes, entitled Arms, Armour and Ordnance and Decorative Arts and Everyday Objects.

"Quite simply the most fascinating record of a '[fashion] victim' one could hope for." The Spectator This captivating study reproduces arguably the most extraordinary primary source documents in fashion history. Providing a revealing window onto the Renaissance, it chronicles how style-conscious accountant Matthaus Schwarz and his son Veit Konrad experienced life through clothes, and climbed the social ladder through fastidious management of self-image. These bourgeois dandies' agenda resonates as powerfully today as it did in the 16th century: one has to dress to impress, and dress to impress they did. The Schwarzes recorded their sartorial triumphs as well as failures in life in a series of portraits by illuminists over 60 years, which have been comprehensively reproduced in full color for the first time. These exquisite illustrations are accompanied by the Schwarzes' fashion-focussed yet at times deeply personal captions, which render the pair the world's first fashion bloggers and pioneers of everyday portraiture. The First Book of Fashion demonstrates how dress - seemingly both ephemeral and trivial - is a potent tool in the right hands. Beyond this, it colorfully recaptures the experience of Renaissance life and reveals the importance of clothing to the aesthetics and everyday culture of the period. Historians Ulinka Rublack's and Maria Hayward's insightful commentaries create an unparalleled portrait of 16th-century dress that is both strikingly modern and thorough in its description of a true Renaissance fashionista's wardrobe. This first English translation also includes a bespoke pattern by TONY award-winning costume designer and dress historian Jenny Tiramani, from which readers can recreate one of Schwarz's most elaborate and politically significant outfits.

Bringing together an international cast of scholars from a range of disciplines, this highly illustrated book traces the history of colour through its relationship with clothing in Europe over four centuries in the pre-modern period. A Revolution in Colour reveals how, during this era, dyes spurred on aesthetic experiment, new modes of empirical observation and an intensification of globally interconnected trade. The book demonstrates that merchants and craftspeople generated much of the social value for new aesthetic possibilities through dye tones, successfully arguing that this set off a ‘revolution in colour’ that intertwined with the first age of globalization and consumerism. Whilst providing clear evidence that even dress obtained by middling people in Europe could be much more expensive than paintings, A Revolution in Colour also shows that vibrant coloured clothing and accessories based on complex chemical experiments were ubiquitous. A broad range of natural dyes made for exciting and highly successful products by creating novelty and new emotional experiences for the masses.

Accounts providing details of the quantities and cost of clothing and other items manufactured for the first Tudor kings. By the late fifteenth century the Great Wardrobe, the section of the royal household that supplied the king and his household with clothing and furnishings, was well established in the London parish of St Andrew by the Wardrobe (many of the suppliers of fabric to the Great Wardrobe and many of the individuals who worked for it lived and worked in the city). This volume provides an edition and calendar of the accounts for 1498-99 and 1510-11, as wellas the section of the 1544 account relating to Henry VIII's campaign in France. In addition there are two appendices listing the recipients of livery in the extant Great Wardrobe accounts and warrants and an extensive glossary. The Introduction to the edited texts discusses the patterns of supply to the Great Wardrobe and assesses the significance of a small but influential group of Italian merchants who traded alongside the Londoners. Professor Maria Hayward teaches in the Department of History, University of Southampton.

Henry VIII used his wardrobe, and that of his family and household, as a way of expressing his wealth and magnificence. This book encompasses the first detailed study of male and female dress worn at the court of Henry VIII (1509-47) and covers the dress of the king and his immediate family, the royal household and the broader court circle. As none of Henry VIII's clothes survive, evidence is drawn primarily from the great wardrobe accounts, wardrobe warrants, and inventories, and is interpreted using evidence from narrative sources, paintings, drawings and a small selection of contemporary garments, mainly from European collections. Key areas for consideration include the king's personal wardrobe, how Henry VIII's queens used their clothes to define their status, the textiles provided for the pattern of royal coronations, marriages and funerals and the role of the great wardrobe. In addition there is information on the cut and construction of garments, materials and colors, dress given as gifts, the function of livery and the hierarchy of dress within the royal household.