Customer Reviews

Medieval Costume and How to Recreate It (Dover Fashion and Costumes)

5 star:		(2)
4 star:		(4)
3 star:		(4)
2 star:		(4)
1 star:		(0)

 

 

Dorothy Hartley's book, first published in 1931, has many good things about it, and also many not-so-good things. The book does have a wealth of black-and-white illustrations reproduced from period sources, and these are outstanding. Ms. Hartley's interpretations of medieval dress, however, are not always on the mark...page 103, for example, has a drawing of a "sleeveless coat" which is actually a mis-interpretation of a fur-trimmed sideless surcote. Also confusing is the "loose side piece" in her diagram of a hunting tunic on page 57...nothing in the period illustrations would indicate a garment cut and worn that way, and it just doesn't make sense.

So...like a lot of other costume texts published in the early 20th century, don't take everything in this book for gospel truth, and double-check the details against other sources if you're looking for true authenticity.

For years I've had a photocopy of this book that I've lugged around, so I was very happy to find this as a reprint edition. One of the great things about this is that the author has done her research, and tends to construct the clothing from simple shapes -- namely if you can sew a straight line, or hem, you can make these costumes. The bad part is that there are some very odd items in here -- one tunic has a flap that ties in place, and the woman's gown is constructed in a very odd way -- you 'can' do it, but the seams look very out of place. Still, the price is good for a begining reinactor, and will instill confidence to go on and make more complicated items.

As other reviewers have said, Hartley's book is aimed at theatrical costumers, not reenactors. Because of that fact and because it was written long before archaeological research began to correct long-held misapprehensions about medieval costume, its advice about how a particular costume was made is often quite wrong. But Hartley's book does something I've never seen before in any book on medieval costume--it urges the reader to look at period artwork and think about what the person wearing such a costume in the artwork would have been doing and what tools he or she would have been using while doing it. This insight is, in my opinion, worth the meagre price of the book.

I'm of mixed feelings on this book .
First, if you don't own a single costuming book, then get it, just for some inspiration.

The best reason for anyone to get the book is the illustrations......over 200 period illustrations to use for inspiration.
Granted, they're in black and white.......so you don't get the colors to see, but Ms Hartley often describes the colors, so that helps.
She has provided a number of pages of detailed line-drawing illustrations to help explain/show how cloth was cut and sewn to create various outfits.
As such, they are helpful, sometimes.
Ditto, other times they are off the mark.

Some of her interpretations are, shall I say 'creative' without adequate proof in her period sources to support her theories of construction.
With that, I have some major problems, but if her purpose is to give a resonable facsimile for stage interpretation, then her theories are adequate.
If her purpose was to provide accurate historical information, then she is often being misleading in regards to the needs of the serious historical re-inactor.
i.e. she interprets the 'modesty panel' triangular insert, in a 15th c. gown as a 'vest'. Granted, she says "a small triangular vest" so maybe her idea of a vest, and mine, are merely a difference in understanding. But her perception of a Hellsgate overgown is off the mark. Because the upper portion of the winter worn ones is often covered in, or lined with, fur, she incorrectly interprets the upper portion as a totally seperate garment, calling it a 'sleeveless jacket/coat' and both her line drawings and her text clearly indicate she genuinely believed it to have been such, stating : ".........shows a sleeveless jacket which must have been comforting in drafty halls-it may be fur-lined, or only fur trimmed- but it is definately part of the jacket. The front seems to be stiffened by light strips of wood or whalebone (I have major problems with this, as it has no sound basis, at all. Stiffening elements were used, in later times, as means of support, but were not needed for this garment, which hung loosely. Her interpretation is apparently based on the stiff appearance of the panels, but this is due to the heavy weight of the (Attached)skirts holding it vertical)..... and the jacket secured to it firmly by metal studs or clasps. The whole jacket is essentially a sturdy little affair, and though in some cases it seems to have been worn as part of the robe, we believe it was always made and put on seperately."

Her line drawings shows it as a simple fur-lined vest (with a normal sleeveless opening......which her period illustrations do not support, at all ) and a line drawing of one (vest) with a button-front panel down the center, which she has taken the creative measure of showing 'how' it was 'surely' attached to the edges of the front vest opening, by way of 4 buttons at the corners of the front insert, going through button holes, in the vest, barely concealed at the edges of the fur edging along the front edges. There is absolutely no historical evidence to support this theory; she had, clearly gotten it in her head, that this was a seperate jacket, and is attempting to demonstrate how the period variations might have been achieved, to support this silly idea. I need to add that in many of her other line drawings she seems to rule out the cut of the cloth pieces being a shaping factor, and, instead, resorts to the use of darts to show how to achieve a fitted look. Only in two incidences has she shown the use of gores to widen a skirt. In at least two cases (of men's garments) she has done something interesting with the cloth directly below where the cut goes into the body of the cloth, to isolate the sleeve for sewing the underarm seam. She has, instead of cutting it from the body of the garment, (to use as sleeves, etc.) left it, open and seamless, to wrap the front, back around the sides of the body, and the back panels, forward over those to create a double layer of cloth at either side of the torso, (for warmth ?) held in by the belt. I've never seen the first bit of period source to support this theory, nor does any of her period sources provided in the book, support it. She also shows an interesting theory on the cut of a laborer's shirt with high collar (under her chapter on 'Artisans' oddly enough) Cuts are made down either side of what is to be the high collar, and the cloth, to either side of the collar, is folded down over the shoulders in a manner like the side panels earlier mentioned, and stitched into place. Once again, she tucks in darts to shape with. She also elaborates on her 'padded shoulders' theories by showing two other drawings of "shoulder flaps" again, un-supported by any evidence in the form of period illuminations, etc.

Dispite all of this, believe it, or not, but I Still LIKE the book !!!
It's well worth the money in period pictures, if for no other reason.

I also like the fact that she's steered away from the usual emphasis on royal garments, and has concentrated her efforts on the clothes of the everyday common man, dividing her chapters to cover individual professions. Her line drawings are excellent, even if off-the-mark at times with her theories of construction......she has nicely isolated some interesting details of accessories to go with the different professions and situations, as in the clappers, etc. that the lepers were required to announce their approach,...her text in these things, elaborates more on the assorted situations, with helpful historical information.

All in all, my single largest problem with her concise little book is when it comes down to her attempts to introduce her own theories as to construction; using her line drawings to try and prove how her theories might have been achieved, while she neglects to provide period sources to give visual support to her ideas. As a quick guide to theatrical costuming, it has it's merits. As a first costuming book for Medieval Historical re-inactors, it is valuable for the period illustrations, but her interpretations often need to be taken with a grain of salt, as many will not fly if entered in an A & S costuming competition, judged by informed judges...so you be the judge of how valuable this book may be in your library. I have over 100 costuming books in my own, and I'm still glad I added this one, if for no other reason than as a sometimes bad example,....but, again, the period illustrations are well worth the cost of the book. R.D. Wertz/Shara of Meridies

I purchased this book in paperback, and it is handy for the no-
vice sewing person. Some of the directions are a tad cloudy, as
are some of the examples.

But keep this in mind: there are not that many actual garments
to work from that are still extant!!!

The garments are pretty much self-explanatory for the novice, and they make for some fairly simple gear to make and wear. As
I have made several veils,wimples, and other assorted headgear
from the examples in this book, it teaches one the patience and
just WHY clothing was considered so expensive then. We are talk
ing about handsewing EVERYTHING, so even though some of the pieces may be a tad "off," you do learn the basic techniques,
as well as valuable practice sewing garments.

Having adapted some pieces for streetwear, as they were more com
fy than what's out there, and several aprons, as they were more
practical in design, this is a very handy little book to get for
the novice interested in handsewing your own gear.

This book is a "dreams-answered" book on medieval clothing design and sewing for me. Finally, some tricky things in medieval clothing design were explained or sketched. This along with some historical information makes it a superior book.
I make a lot of medieval clothing, often without a pattern, though I do use commercial patterns to help with difficult sewing areas This book is very, very helpful. I have already recommended it to my friends who also sew medieval style clothing.

this book has been a good addition to my medieval garb bookshelf. It's not quite as helpful as some others, but has good notes on clothing construction and has been useful.

Even if I am french I can use this book to realize medieval costumes. The patterns are very good and the explanations quite easy.

This book is very nice if your goal is creating theatrical costumes. There is very little for the serious costumer. The book is written at a very high level, with emphasis on creating something that looks like the period costume, rather than accurately recreating a historic costume.

Medieval Costume - yes. Sorta. I guess. She doesn't give much in the way of proof for her costuming conjectures. Lots of drawings and narrative, but really no citations worth mention.

How to Recreate it? Not at all. not a bit. Not even so much as a cutting diagram or a single discussion of how to cut, sew, assemble or reproduce the garments.

Very disappointing.