1. In their introduction to Grasping the World: The Idea of the Museum (Aldershot: Ashgate, 2003), Donald Preziosi and Clare Farego describe this as ‘the crises and challenges of European self-knowledge resulting from a half-millennium-long global expansion of experience through conquest and commerce’ (3).
2. Valerie Cumming,Understanding Fashion History(Hollywood: Costume and Fashion Press, 2004), 38–9.
3. Marion Fletcher,Costume in Australia 1788–1901(Melbourne: Oxford University Press, 1984), and Margaret Maynard,Fashioned from Penury: Dress as Cultural Practice in Colonial Australia(Melbourne: Cambridge University Press, 1994).
4. Traditionally, curators discouraged photographing original costumes on conservation grounds, because of the quantity of light and heat to which they would be exposed. Digital photography, however, can not only create images under a wider range of light conditions, it can create multiple images and short moving sequences that can valuably substitute for the examination of actual garments to enable preliminary, quantitative, and comparative studies.
5. Christopher Breward,The Culture of Fashion: A New History of Fashionable Dress(Manchester: Manchester University Press, 1995), 228.