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Stuart Style: Monarchy, Dress and the Scottish Male Elite
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.
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.
368 pages, Hardcover
First published March 17, 2020
35 people want to read
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July 5, 2021
With the exception of traditional folk costume; clothing choices nowadays usually represent personal taste or inclusion, such as team or work uniforms. However, these notions were just the tip of the iceberg in history when clothing and textiles displayed wealth (or the lack thereof), social status, life cycle and seasons, religions, relationships and family roles, holidays and the list goes on. This was especially noticeable among the elite and gentry who had to keep up appearances. Historian/professor and British history fashion expert Maria Hayward focuses on the clothing revolution of the Stuart era in, “Stuart Style: Monarchy, Dress and the Scottish Male Elite”.
“Stuart Style” is a 300+ glossy-page, full-color, coffee table book showcasing the fashionable clothing choices/fads of the elite class male during the Stuart monarchy from the Scottish perspective. Hayward compartmentalizes “Stuart Style” into a topical study of three parts: the evolution of style from James VI & I through James VII & II, an in-depth look at Stuart fashion elements and finally the impact of clothing, where and when they were worn, etc. Undeniably, the scope of “Stuart Style” is vast and Hayward’s work is a one-stop shop for information on the subject matter conducted under mountains of research and extensive source material.
The issue herein is that perhaps Hayward was overwhelmed by the material, herself, which is reflected in the text of “Stuart Style” as it is choppy, cluttered, aimless, slow and difficult to read/grasp the information. Hayward attempted to pack too much information into one place resulting in a piece that is begging for an editing clean-up and tempering down. In turn, “Stuart Style” takes quite a long time to complete and can be described as dry without any intrigue. How can this topic be made boring?! Read “Stuart Style” to get a reasonable idea.
These complaints are especially evident in the first section where Hayward is attempting to find her groove and is instead often repetitive or trying too hard to pinpoint a psychological explanation to the stylistic approaches made by the Stuart monarchs but failing. It would have actually improved “Stuart Style” to switch the order of the sections and have the monarch case studies at the conclusion of the sections.
Speaking of repetition, Hayward is absolutely obsessed with the term, ‘bespoke’. If readers received a dollar each time Hayward peppered “Stuart Style” is ‘bespoke’; they would be rich and reading “Stuart Style” would be worth it.
The graphic quality of “Stuart Style” is the redeemer of the text featuring high-resolution images and artwork often not seen elsewhere accompanied with captions explaining the subject, artist, size dimensions, current ownership and clothing/style/textile connection. Simply browsing “Stuart Style” for the artwork is advantageous for the reader.
Hayward structured “Stuart Style” in a conversational tone announcing what will be discussed in each chapter rather than jumping into the topic. This feels somewhat misguided and unnecessary in a scholarly text. Each chapter is also capped-off with a conclusion that unfortunately doesn’t add any merit to the chapters nor makes them more memorable.
“Stuart Style” improves with the second and third sections which are more illuminating, better-written and are presented with a smoother narrative flow. The final section is the strongest revealing information new even to those readers familiar with the Stuart era. The material still isn’t as sharp and poignant as one would expect and hope; but Hayward is “onto something”.
Hayward fortifies “Stuart Style” with a timeline of Stuart events, a visual chart of the evolution of Stuart dress spamming the 1560s-1690s, a glossary of terms, notes and a deeply-satisfying bibliography rich with source material.
“Stuart Style” is exceptional in its study purpose but simply fails in execution. Hayward’s piece is clumsy, cluttered, and slow; and essentially weakens the purpose resulting in readers coming away with very little. “Stuart Style” is recommended for those seeking a Scottish insight to Stuart fashions; but not necessarily for all Stuart history lovers. “Stuart Style” is certainly for a small, niche audience.
“Stuart Style” is a 300+ glossy-page, full-color, coffee table book showcasing the fashionable clothing choices/fads of the elite class male during the Stuart monarchy from the Scottish perspective. Hayward compartmentalizes “Stuart Style” into a topical study of three parts: the evolution of style from James VI & I through James VII & II, an in-depth look at Stuart fashion elements and finally the impact of clothing, where and when they were worn, etc. Undeniably, the scope of “Stuart Style” is vast and Hayward’s work is a one-stop shop for information on the subject matter conducted under mountains of research and extensive source material.
The issue herein is that perhaps Hayward was overwhelmed by the material, herself, which is reflected in the text of “Stuart Style” as it is choppy, cluttered, aimless, slow and difficult to read/grasp the information. Hayward attempted to pack too much information into one place resulting in a piece that is begging for an editing clean-up and tempering down. In turn, “Stuart Style” takes quite a long time to complete and can be described as dry without any intrigue. How can this topic be made boring?! Read “Stuart Style” to get a reasonable idea.
These complaints are especially evident in the first section where Hayward is attempting to find her groove and is instead often repetitive or trying too hard to pinpoint a psychological explanation to the stylistic approaches made by the Stuart monarchs but failing. It would have actually improved “Stuart Style” to switch the order of the sections and have the monarch case studies at the conclusion of the sections.
Speaking of repetition, Hayward is absolutely obsessed with the term, ‘bespoke’. If readers received a dollar each time Hayward peppered “Stuart Style” is ‘bespoke’; they would be rich and reading “Stuart Style” would be worth it.
The graphic quality of “Stuart Style” is the redeemer of the text featuring high-resolution images and artwork often not seen elsewhere accompanied with captions explaining the subject, artist, size dimensions, current ownership and clothing/style/textile connection. Simply browsing “Stuart Style” for the artwork is advantageous for the reader.
Hayward structured “Stuart Style” in a conversational tone announcing what will be discussed in each chapter rather than jumping into the topic. This feels somewhat misguided and unnecessary in a scholarly text. Each chapter is also capped-off with a conclusion that unfortunately doesn’t add any merit to the chapters nor makes them more memorable.
“Stuart Style” improves with the second and third sections which are more illuminating, better-written and are presented with a smoother narrative flow. The final section is the strongest revealing information new even to those readers familiar with the Stuart era. The material still isn’t as sharp and poignant as one would expect and hope; but Hayward is “onto something”.
Hayward fortifies “Stuart Style” with a timeline of Stuart events, a visual chart of the evolution of Stuart dress spamming the 1560s-1690s, a glossary of terms, notes and a deeply-satisfying bibliography rich with source material.
“Stuart Style” is exceptional in its study purpose but simply fails in execution. Hayward’s piece is clumsy, cluttered, and slow; and essentially weakens the purpose resulting in readers coming away with very little. “Stuart Style” is recommended for those seeking a Scottish insight to Stuart fashions; but not necessarily for all Stuart history lovers. “Stuart Style” is certainly for a small, niche audience.
Displaying 1 of 1 review