This major volume aims to re-colour the European world of dress, c.1300-1800. New dyes created one of the most important visual experiences of the period, yet their story has been side-lined by a focus on visual experiences shaped by the high arts. Meanwhile, theatrical productions and period films still abound with broad assumptions about the growing dominance of black clothing for elites during the period, while ordinary people are imagined having worn coarse greys and bleached garments. This volume presents clear evidence that even the clothing of the middle classes could be much more expensive than paintings, and that coloured clothing and accessories were ubiquitous across society.
Contributors shed new light on the economic, environmental, and cultural dimensions of colour in dress. The range of dyes expanded considerably in the sixteenth and seventeenth centuries, drawing on Asian and Mediterranean knowledge, new collections of recipes, and the greater diversity of plants available through New World trade. Working creatively with organic plant, animal, and mineral materials to make colours involved considerable knowledge, pleasure and skill. The creation of colour through dyes thus reveals a whole range of global agricultural and craft technologies that can inspire future material worlds and transforms our understanding of Europe´s cultural heritage.
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A work with both poetic and practical applications, in its pages learn about the world of colour in textiles before industrialization.
Reversing the notion that the wealthy elites preferred to wear black, A Revolution in Colour explores the vibrant textile world of early-modern Europeans when people thought they saw color rather than light.
In these pages we feel the textile of early modern consumers, both elite and demotic, come alive through a dazzling array sources. Delight in the colours of the natural world was exceeded only by the technical and material accomplishments in bringing more and more dyes, colours and hues to more and more people. * Peter McNeil, Professor of Design History, University of Technology Sydney, Australia. *
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A highly illustrated examination of the history of colour through its interrelation with dress in Europe in the period from 1400 to 1800.
List of Illustrations
Editors Introduction
1. The Arrival of the Crimson Dyeing Technique in Italy in the Late
Fourteenth Century Luca Molà (University of Warwick, UK)
2. The Woad We Have Lost? The Changing Supply Networks of Tuscan dye
Businesses between the Local and the Global, 1450-1650 Stephanie Lietzel
(Harvard University, USA)
3. Crimson Dyes and the Law in Renaissance Italy Lisa Monnas and Jo Kirby
(both Independent Scholars, UK)
4. The Limits of Global Trade: Cochineal and Indigo in the Pre-modern Period
Giorgio Riello (European University Institute, Italy)
5. A Dyeing Art: Reconstructing Rosetti's Plictho Sophie Pitman (Aalto
University, Finland)
6. The Colourful Language of Dyeing Black Sven Dupré (University of Utrecht,
The Netherlands) and Natalia Ortegasaez (Antwerp, The Netherlands)
7. Re-Colouring Renaissance Dress: Matthäus Schwarz of Augsburg Ulinka
Rublack (Cambridge University, UK)
8. Creating colour in the Stuart Royal Wardrobes, 1566-1701 Maria Hayward
(University of Southampton, UK)
9. Innovations and Imitations of Fashion: Colour and Novelty in Early Modern
Italian Dress Paula Hohti Erichsen (Aalto University, Finland)
10. French Indigo Trade from Marseille to Levant Marguerite Martin (IDHES -
Université Paris I Panthéon Sorbonne, France)
11. Dyes and Dyeing in the Business of Indienne in the Eighteenth Century Kim
Siebenhüner (Historisches Institut, Jena, Germany)
12. Identifying Different Pathways to Historical Colour for Scientific
Analysis Anita Quye (University of Glasgow, UK)
Conclusion: The Cost of Colour: Colonial Networks and Embodied Histories
Beverly Lemire (University of Alberta, Canada)
Index
Maria Hayward is a Professor in Early Modern History at the University of Southampton, UK. She is the author of Stuart Style: Monarchy, Dress and the Scottish Male Elite (2020), Rich Apparel: Clothing at the Law in Henry VIIIs England (2009) and Dress at the Court of King Henry VIII (2007). Giorgio Riello is Professor of Early Modern Global History at the European University Institute in Florence, Italy and Professor of Global History and Culture at the University of Warwick, UK. He is the co-editor (with Anne Gerritsen) of Writing Material Culture History (2014; 2nd Ed. 2021) Ulinka Rublack is Professor of Early Modern European History at Cambridge University, UK, and author of Dressing Up: Cultural Identity in Renaissance Europe (2010) and co-editor (with Giorgio Riello) of The Right to Dress: Sumptuary Legislation in a Global Perspective, c.1300-1800 (2018) and (with Maria Hayward) of The First Book of Fashion (2015).
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