Last Friday  21 October we presented our Tudor Talk for a ladies group in Brancepeth.

My talk included Tudor Underwear and costumes inspired by King Henry VIII, Anne Boleyn, Elizabeth I and Mary Queen of Scots.

Quite a few questions after my talk were relating to the Tudor Under garments and laundering of the clothes.

What did they wear under their outer garments?

Could the clothing be washed?

Did the ladies wear any type of knickers?

How were the skirts held out?

The chemise, called a “smock” or “shift” in the 16th century, was a simple garment was worn next to the skin to protect clothing from sweat and body oils. As Elizabethans rarely indulged in full-body baths, and as the clothing of the middle and upper classes was not the kind one could pound on a river rock or scrub regularly with ashes and lye soap, the chemise was vital to Elizabethan costume.Smocks were made of fine linen, as fine as the wearer could afford. Many of the better smocks were made of what we now call “handkerchief-weight” linen. Lawn, cypress and holland were three 16th c. varieties of sheer linen used for fine smocks.

These smocks hung to just about knee to calf-length, on average. This is a square -necked gathered smock – it has a  very voluminous body and sleeves, I have gathered the fabric into a square neckband and wristbands. It was sometimes pulled through the slashing of the outer garments during this period.Resistance to fungus and bacteria – Linen has natural antibacterial properties and that is why it is used in medicine. It also acts against the bacteria that make you smell. Regarding washing of the garments – the silk and heavily embellished fabrics could not be washed.  They outer garments were heavy to don and doff, stiff and uncomfortable to wear and to be honest very smelly.  Without the essential chemise next to the skin they would have been even worse

This corset has been inspired by the corset found on the ‘effigy’ of Elizabeth the First. I have designed a tabbed waist corset, which is the type which is the easiest to wear. The tabs distribute pressure so the corset does not ‘dig in’ at the waist. The Elizabethan corset gave a period shape to the body and had straps to help lift the breasts. It was made of linen (I have constructed it in cotton twill or linen. Spring steel boning has been inserted into channels to give strength.  During the 16th century corsets were stiffened with whalebone, reeds, steel or rope. I have used binding on the edges as Elizabeth’s corset was bound with leather. The lacing holes are reinforced with sturdy cotton thread and the corset is laced with cord.

To create the correct shape for clothes of the period a Spanish Farthingale was worn. This was a bell-shaped hoop skirt worn under the skirts of well-to-do women during the Tudor and Elizabethan era. From 1530 to 1580, the farthingale played an important part in shaping the fashionable silhouette. (First Farthingale worn by Joan of Portugal to hide pregnancy – had two illegitimate children)

The Spanish Farthingale, as its name suggests, originated in Spain. Tradition holds that the Spanish Farthingale arrived in England in the 1520s, introduced by Katharine of Aragon, Henry VIII’s future queen. It is true that, beginning in the 1530s, clear evidence of hoop skirts worn by English noblewomen begin to appear in court paintings and portraits.

The pattern for this farthingale is from Juan de Alcega’s Tailor’s Pattern Book, published in 1589. It has been created from sections of calico – which are cut and then pieced together.  The sections of fabric are placed so that no bias seams are sewn to each other. This was to eliminate the sagging which two bias seams sewn together would inevitably experience. I have cut additional pieces of fabric, 2 inches wide, to match the length of each piece of boning to create casings for the stiffening.After everything is sewn together, the farthingale would have been gathered at the top and the raw edges bound with a strip of fabric.  It is reasonable to say that the opening would have been in the back or in the front for a front-lacing corset.Three materials were known to be used for stiffening farthingales in Elizabeth’s time: rope, bent rope, and whalebone. Most recreation farthingales are made using hoop skirt boning. Hoop skirt boning is 1/2-inch-wide stiffened canvas or plastic with spring steel along the edges. It is very stiff and can hold out the heaviest of skirts, yet is lighter than other boning materials. After the boning is inserted the casings are tacked close.  The boning can however be easily removed so the farthingale can be washed.

A Bumroll, which, as its name suggests, was a roll tied around the bum, was an essential piece of Tudor and Elizabethan underwear. In Elizabethan times, it was more commonly called a “rowle”; “bumroll” is the modern term for the item. A bumroll is made from a crescent shape of non-stretchy fabric such as calico which is stuffed with wadding and has ties attached to the ends.

The first hard evidence of a separate roll worn around the hips are a reference to them in Elizabeth’s wardrobe accounts from 1580. It was tied around the hips to make a woman’s skirt swell out becomingly at the waistline before falling to the ground. It was used throughout the 16th century and into the 17th, and considered an essential aid to fashionable dress. Elizabeth I wore one with her gold gowns.

Gold Elizabeth I Gown

By the way no type of panties or knickers were worn – If you are interested – the first type of this type of underwear were in a form of leggings or long drawers, they originated in France in the early 19th century, and quickly spread to Britain and America. Without the correct underwear, the shape of the dress of the period would be unable to be achieved so it is a very important part of the costumes.

You simply can’t look like Lady Jane Grey, Anne Boleyn or Mary Queen of Scots without the right foundation garments. If you make the attempt, the most you’ll achieve is the look of a poor and cheaply made fancy dress costume: A lumpy and ill-fitting mess. It’s impossible to achieve the lines of an Elizabethan gown without a corset (as well as a host of other “underpinnings” such as bumrolls, farthingales, or hoops).

I would like to thank the super ladies of the group especially Janet for their help in setting up the costume display.

I had a great time chatting to them all afterwards – I also enjoyed a couple of cakes, fruit cheese and two glasses of Elder flower wine with them as well  – beautiful!

We really appreciated your kind hospitality and hope we meet again!

With Ann at Thropton WI

Earlier this week we presented our Tudor Talk with costume display for Thropton WI. Thropton is a very pretty village in Northumberland which is next to the picturesque town of Rothbury.

We were located in the newly refurbished Thropton memorial Hall – a lovely venue with perfect facilities for our talk- a large stage, a spacious hall and plenty of changing rooms.

The ladies really enjoyed our talk and sent the feedback below

The ladies also had quite a few interesting questions – 

What is one of the differences between the making of film, theatre and TV costumes?

In my opinion one of the main differences is that theatre costumes aren’t usually seen close up so they don’t need to be so detailed – for example embroidery on a stomacher for Queen Elizabeth I could be artfully glued with jewels and gold paint could be sprayed on to give an impression of embroidery as the first row of the audience in a traditional theatre is usually quite a distance away. In a TV production or film the embroidery needs to be more realistic as the dress can be seen in more detail- intimacy is gained through camera angles and close ups. I noticed in the recent TV series “The White Queen” starring Max Irons that the actress playing Elizabeth Woodville had a zip at the back of her dress- not a good look considering the first zips were invented hundreds of years later! 

The White Queen TV Drama

Re-enactment Costumes are different again – they need to be accurate close up – right down to the type of thread used to sew the seams – no polyester/cotton thread – it must be pure cotton! This type of costume is not the type I would wear as re-enacters are not allowed to use make up or modern hair straighteners  – which wouldn’t suit me!

Do I visit exhibitions of extant costumes?

Of course I do – I love seeing any type of costumes.  I recently visited two costume exhibitions while on holiday in Harrogate. I visited Normanby Hall- a beautiful 300 acre estate set in the heart of North Lincolnshire. Normanby Hall’s costume gallery featured the exhibition ‘Victorian Vogue’.

http://www.tudortalkandcatwalk.com/normandby-hall-haute-couture/

I have included photographs of the display and more information on my website – to read more just click the link above..

It took items from Normanby’s extensive costume collection to document changes in fashion from the 1840’s to 1890’s.

I also visited a fabulous new Costume Exhibition at York Castle Museum called ‘Shaping the Body’. An iron corset, crotch-less pantaloons from the time of Jane Austen, bum rolls and a killer dress are a few of the items that featured in this major new exhibition which charts the way fashion, food and fitness have shaped the body over the last 400 years. I am currently designing an 18th century Sacque Dress for my new talk Marie Antoinette and Fashion.

A 1775 Dress at York Castle Museum

There is a wonderful extant 1775 Sacque dress on display complete with a set of panniers (boned hooped underskirt).   It was wonderful to see an actual dress of the period similar to the pink silk Marie Antoinette gown I am currently making for my new talk.  The display gave an invaluable insight into the fabric, construction and design of the period!

My Pink Silk Marie Antoinette Gown

What did Tudor women wear under their underskirts?

Ladies of the 16th century wore nothing under their skirts as nothing was deemed essential, necessary or had even been thought of at that time.

In her book ‘Knickers, An Intimate Appraisal’, Rosemary Hawthorne records that before 1789 and the French Revolution that long skirts, a petticoat or two, a corset and linen chemise were the only forms of underwear women thought were desirable. As a result, women began covering their lower regions simply because it was warmer to wear some undergarments in the cool north European climate.

During the Regency era women began wearing pantalets. Pantalets originated in France in the early 19th century, and quickly spread to Britain and America. They were thought to have been based on men’s trousers. Pantalets were tubes of fabric which were not sewn together which they tied around the waist.

At Thropton WI

Is the Henry VIII clothing comfortable to wear?

I have asked my husband this question today and he gave this reply

“It is a fairly comfortable costume to wear and not particularly restrictive”.  There is no boning in this costume just some padding in the sleeves and body of the gold doublet. There is also copious padding  in the top of the sleeves of the outer robe – Tudor gentlemen liked to both emulate and flatter their their stout monarch by adding padding to their clothing.

“The costume does to seem to become heavier after being worn for about an hour” Today we are not used to wearing such heavy clothing on a day to day basis – we usually dress for comfort the exception being a formal event like a Wedding , ladies may wear a boned corset to change their shape and gentleman a stiff high necked shirt.

Mick as King Henry VIII

“The costume can make you feel very hot during a costume event particularly when worn in the summer months.” The Henry VIII costume becomes hot and uncomfortable quite quickly. There are at least four layers of clothing on the torso alone – the shirt, the padded doublet, the  jerkin and finally the very heavy robe of velvet, trimmed with fur and lined with satin. I have read that the climate in the Tudor period was on average quite a lot colder than it is today, during James I’s reign the Thames froze completely, people skated and had fairs on it!

 “The shoes are very comfortable”  They have been commissioned from Pilgrim Shoes. They are designed in soft black leather slashed with gold silk puffs. They were made to measure for a very reasonable price. In fact my husband had to stand on a piece of paper and draw round both feet- the papers were sent to Pilgrim shoes and the shoes that were sent are very comfortable. I would not hesitate to recommend them.

http://www.pilgrimshoes.co.uk/

Finally he said “The tights/hosen do feel awkward at times” I suppose as my husband is used to wearing modern trousers every day tights would feel rather odd to a gentleman!

Talk at Thropton

Did I present a display of costumes at Belsay Hall?

Yes – I have presented two large displays of my Tudor Costumes for English Heritage at Belsay Hall in Northumberland  – other venues for my displays have included Raby Castle, The Royal Armouries in Leeds , Lauriston Castle and Kedleston Hall.

I also presented nine- yes nine! Tudor Fashion Shows over a bank holiday weekend at Belsay Hall.  It was very hard work but my team and I really enjoyed it!

Costume Display at Belsay Hall

Do we present talks to mixed groups – ladies and gentlemen?

We do indeed present talks to mixed groups of Ladies and Gentleman.  Not only women are interested in history and costume!

Admittedly we present the majority of our talks to ladies groups however have presented a large number of events to the general public including The Royal Armouries in Leeds, Belsay Hall and Kedleston Hall.  We also presents events for the U3A (University of the Third Age) and there are usually an even mix of ladies and gentlemen . For our Regency Talk at the Army and Navy Club in London to commemorate to bicentenary of the Battle of-Waterloo there were no ladies present at all and the gentleman said they really enjoyed it!

Costume Display at Raby Castle

Where do I source my fabrics?

I use a large amount fabric mainly silk for my costumes. I used to buy James Hare Silk which is amazing however this has become very expensive – I need at least 10 yards for a Tudor Gown which can cost quite a lot.  So I now buy my silk from India for a much more reasonable price- the only problem is that it isn’t very wide – only 44 inches.  I am currently making a Marie Antoinette Gown that required 16 yards of pure silk brocade and managed to buy it from a fabric retailer based  in India for a very reasonable price!    http://www.puresilks.us/

If anyone would like a list of my suppliers I for fabric or haberdashery I would be happy to email them a copy.

Thropton WI

We really enjoyed presenting our talk for Thropton and hope to see them again in the future – thank you Ann for all your help and hospitality!

I hope you have enjoyed reading this post – if you have leave a comment – thank you

Barley Hall costume Exhibition

We recently visited the Barley Hall in York – it is located near York Minster.

A new exhibition, called ‘Power & Glory’, is situated on the first floor of the Barley Hall and includes a costume display. They include a outfit worn by Jonathan Rhys-Meyers as King Henry VIII in the recent TV Series ‘The Tudors’, as well the costume worn by Charlotte Rampling as Anne Boleyn in the film ‘Henry VIII and His Six Wives’ and others from  TV dramas over the last last 50 years. They also include one of Keith Mitchell’s  fabulous costumes from the BBC TV series in 1970 called  ‘The Six Wives of Henry VIII’.

The BBC’s ‘The Six Wives of Henry VIII’ became a feature film – ‘Henry VIII and his Six Wives’ which was released in 1972. It starred Keith Michell, Charlotte Rampling, Jane Asher, Michael Gough and Brian Blessed. Costumes were designed by John Bloomfield.  Keith Michell once again played King Henry with Charlotte Rampling as Anne Boleyn. Bernard Hepton repeated his role on TV as Archbishop Cranmer and Donald Pleasance played Thomas Cromwell. Despite having larger budget, the movie was not as successful as the TV series. 

Anne Boleyn

Above is a spectacular costume worn by Charlotte Rampling as Anne Boleyn in the 1970 film – Henry VIII and His Six Wives. I remember this costume from the exciting scene showing  Anne Boleyn taking part in a masque at court while Henry VIII watches. He is now tiring of Anne and spies quiet Jane Seymour. Anne is wearing a Gold/Orange Brocade skirt with matching sleeves.

Anne Boleyn Bodice Close Up

The attractive sleeves are embellished with strips of gold braid sewn in a spiral from top to bottom and finished with a brown satin cuff.  Her bodice is front fastening and fastens with either hooks and eyes or metal rings . It has been designed in burgundy velvet and is trimmed with gold braid and set with gold buttons and jewels. The buttons have been quite cheaply made of gold roman rings glued with pearls and beads however unless you are very close they certainly look like jewelled buttons when seen on the big screen! 

Anne Boleyn Sleeve Detail

Underneath the gown is worn a fine partlet of white net or muslin sewn with gold embroidery. Over the dress a long black velvet robe lined in black satin  is worn tied by a black ribbon at the front. It has short puffed and ruched sleeves which are pulled in by gold cord ties.

Anne Boleyn Bodice

There is also gold lattice trim along the collar and down the front. After watching the scene again I noticed that Anne’s velvet over robe worn in the film was sleeveless and also had a superb over ornate and very stylish gold embroidered and gold meshed collar on the robe set with pearls and jewels so I don’t think this was the robe worn in the film with this gown. Her pewter necklace is created of cabochons set with pearl stones. 

posing with my favourite costume

On her head she wears a very strange ‘masquerade’ headdress – it looks like it has been inspired by an eastern turban  – she mentions in the film that she is ‘Queen of a dark land’ where she has been ‘scorched by the hot sun’. It has been created from a crescent shaped piece of buckram possibly edged with wire and then padded  – then covered with gold fabric and gold mesh – it has pearl trim at the front edge and is set with a ruby brooch.

Anne Boleyn Headdress front

It has also been edged with wire and beads to create a type of ‘crown’. The hair is covered at the back by a velvet bag which has a lattice work of gold braid caught at intervals with pearl/ruby gold buttons.

Anne Boleyn Headdress Side View

 It is a very different costume to the usual Tudor outfits worn at court as it was a ‘masquerade costume’ as opposed to ‘ordinary’ dresses worn at court at the time. However I do like it and it certainly looks spectacular in the film!I also think Charlotte Rampling made a superb Anne Boleyn.

Henry VIII

Above is a sumptuous costume for Henry VIII – it was worn by my favourite actor in the role  -Australian actor Keith Michell in the BBC series the ‘Six Wives of Henry VIII’ released in 1970. I really loved this TV series and thought the costumes were amazing!Keith Michell portrayed King Henry VIII more than forty years ago.  He presented the King in six plays written by different playwrights and in my opinion did an excellent job. It is interesting to note that the 44 year old Keith portrayed Henry from the ages of 17 to 56.  Keith then played Henry VIII again in the TV series Prince and Pauper in 1996 when he was seventy years old!

King Henry VIII

 As Henry Keith Michell  would wear a fine shirt of white cotton linen first – it has a small pie-crust collar frill and fastens at the front by a cord – the frill of the cuff is just visible below his doublet sleeves.

King Henry VIII Doublet Sleeve Detail

Over the shirt he wears a gold taffeta silk doublet – It has been ‘slashed’ –(that is to say cut) at intervals to create ‘puffs’ of white silk fabric pulled out from the garment beneath. The gold taffeta looks like it has been either been embroidered  by hand in gold thread,  machine stitched or possibly couched (oversewn ) with thick gold piping to create a fabulous  Tudor pattern.  I love the effect.

King Henry VIII Doublet Detail

I think the white silk fabric has been sewn to the edges of the slashes to keep it in place while being worn.  It also has sumptuous gold metal medallions which are set with glittering glass stones and pearls sewn at intervals to decorate the body and the sleeves of the doublet. It took Henry’s servants two hours to dress him in the morning – the white fabric had to be pulled through all the slashes in the doublet body and sleeves.

King Henry VIII Front of Doublet

The doublet and sleeves have been padded with wadding to create the correct Tudor ‘square shape’ for men.   Over the doublet Henry would wear a jerkin. The body of the jerkin has been cut in brown velvet and trimmed with matching brocade trim.  The skirt of the jerkin is cut in sections and hand pleated onto the body.  It has been designed in both brown velvet and a darker coloured velvet.  The body of the jerkin is cut with the typical ’U’ shaped front which can be seen in many portraits of King Henry. The jerkin is finished off with a white satin ribbon around the waist.

King Henry

On top of the doublet and jerkin he wears a robe.  Henry’s heavy robe has been made from heavy black and brown brocade fabric – it could have possibly have been made a heavy furnishing fabric or curtain fabric.  The sleeves have been lined with wadding and gathered at the top and bottom to create the large ‘puffed’ effect, this type of sleeve was very popular at the court of Henry VIII and can be seen in many portraits of the period.

King Henry VIII Robe Sleeve

The robe sleeves have been slashed to show a lightweight net fabric pulled though to create a ‘puff’effect – sadly most of this delicate fabric has now disintegrated however you can still see the gold buttons and gold cord which decorate the slashing. The gold buttons on the taffeta sleeves if you look closely have been made from a gold ring with fabric glued over the top and sewn with glass beads and jewels – sadly some of the jewels have gone- not surprising as the costume is over 45 years old. I did however think it looked good on screen in it’s day  – which is what matters most!

King Henry VIII Sleeve Button

Henry wears a gold medallion around his neck, period rings and a Tudor style dagger around his waist. The Collar of Office also known as a Chain of State is worn over his robe. The chain was probably inspired by a portrait of him painted by Hans Holbein.  It has been made from gold pendants and gold filigree pieces in different shades of gold (the original gold paint may however have worn off over time and it may have all been the same colour when it was made).) It is set with stones, pearls and beads. On closer inspection the pieces are separate and  can be seen to be mounted on a double gold metal trim/chain to link together to create the Collar or Chain of Office – it certainly is a collar fit for a King! 

King Henry VIII Shoe

On his feet Henry wears the decorative Tudor shoes seen in many portraits of the period – they are bar shoes made of black leather or velvet and decorated with gold filigrees and gold piping.  I think they were originally set with jewels however some have been lost. They are worn with white hosen or stockings. I mustn’t forget Henry’s codpiece – it has been made of a gold brocade and has been stiffened with buckram or glue to create the desired shape – it would normally be padded, however this one is hollow – still it looks the part. I couldn’t see how it was attached on this particular costume although I know they were usually attached by ties to the front of the breeches.

King Henry VIII Codpiece

He is wearing a Knight of the Garter below his knee – it has been created in blue velvet and embroidered with gold and crystals.  The Most Noble Order of the Garter is an order of chivalry, or knighthood, originating in medieval England. It is beautifully made and is embroidered with the order’s motto Honi soit qui mal y pense “shame on him who thinks evil of it”) in gold lettering.

Henry Knight of the Garter

Henry’s hat was called a bonnet. It has been made from heavy black velvet.  A brim has been cut out of buckram and hand stitched around the edge with wire.  The bonnet was then covered in black velvet and embellished with small gold chains, pearls and jewels. A white feather sewn to the brim completes the bonnet. An amazing costume worn by a fabulous actor.

Below is a costume worn by Jonathan Rhys Meyers as Henry VIII  – from  The Tudors (2007-2010) Showtime US. The series starred  Jonathan Rhys Meyers, Natalie Dormer, Maria Doyle, Sam Neill and Maria Doyle Kennedy. This series wasn’t very well received by critics as it wasn’t particularly accurate in it’s historical events or characters. For example , King Henry VIII had two sisters Margaret the elder who married the King of Scootland and his younger sister Mary who married the King of France.  In the series they became one composite sister Margaret who married the King of Portugal!

Young King Henry VIII Costume

Personally I found the costumes not period correct either but they were still gorgeous to look at and if the series is taken as a Tudor Soap Opera rather than an accurate historical series it was hugely enjoyable!   This doublet , beeches and sleeveless robe worn by Jonathan in the Tudors will perfectly illustrate my point. The costume was beautifully constructed in purple and gold fabric.The tunic has a high standing collar, long sleeves and shoulder wings  and was created in rich purple taffeta – it is also lavishly decorated with gold/black piping. The front of the tunic has be made of a very attractive iridescent blue/purple padded fabric trimmed with black/gold cord and fastens down the front.

King Henry VIII Costume

A cream linen or cotton shirt with gold embroidery is worn under the tunic – you can just see it peeping out under the high collar of the tunic and it is also visible at the wrists. The breeches are knee length and match the tunic. Over the tunic is a fabulous full length sleeveless robe made of a rich gold and purple brocade fabric – it has a an amazing padded and curled collar which is piped with gold/purple trim in a spiral design – there is also piping on the seams. Not particularly accurate but gorgeous nevertheless!

Young King Henry VIII Doublet Back

The back of the robe is beautifully constructed – it almost looks like the back of an 18th century frock coat! In my opinion the costume certainly isn’t period correct – the doublet isn’t the right Tudor shape – it is too short and the trousers are more like a style of knee breeches worn by Charles I. The robe also looks a bit like like something out of ‘Lord of the Rings’ rather than a Tudor portrait nevertheless it is very stylish, beautifully made and is certainly a costume for King as long as historical accuracy doesn’t bother you too much!

Catherine of Aragon and Young Henry VIII

The dress below is based on a portrait supposed to be of Henry VIII’s fifth Queen Catherine Howard  – in which she wears a black dress and a French hood. Catherine Howard has been played on screen by Tamzin Merchant (The Tudors 2010), Emily Blunt (Henry VIII 2003) and Lynne Frederick (Henry VIII and his Six Wives 1972). 

Catherine Howard Costume

 This gown was designed by Angels Costumiers as part of a display of costumes at Hever Castle in Kent.  It has been on show with five other gowns – inspired by his other wives. Hever Castle in Kent as it happens was the childhood home of Henry VIII’s second wife Anne Boleyn and when she was executed it was given to Anne of Cleves his fourth wife as a present after they divorced.

Catherine Howard Costume Front View

This black duchess satin gown is similar to the dress worn by Angela Pleasance as Catherine Howard in the 1969 television series ‘The Six Wives of Henry VIII’ – I remember watching her wear it when I was a child of 12 years – I loved it! I mentioned the gown is based on a portrait believed to be of Catherine Howard wearing a black gown. the costume is the typical Tudor shape – a square neck bodice with a full skirt – open at the front to show the black velvet underskirt (or forepart).

Catherine Howard Costume Sleeve

The sleeves are gathered at the shoulder and taper to the wrist – they are slashed that is to say the seam is open at the front and the rich gold/black brocade of the underneath is clearly visible  – the fabric is tied together at intervals by ties with gold aglets.

Catherine Howard Velvet Partlet and Necklace

 Over her neck and shoulders she wears a pretty black velvet partlet that is lined with white cotton or linen.   The sleeves of the linen chemise are visible below the wrist and are prettily stitched with blackwork embroidery which was very popular during the Tudor period.

Catherine Howard Costume Blackwork Cuff

 On the head  is a French Hood  – the base would be made of buckram and sewn with wire around the edge to form the correct crescent shape. It would then be covered with fabric and decorated.

Catherine Howard French Hood

This hood has been covered in white satin, edged with gold lace at the front and has a billiment (beaded trim) created by threading gold tube beads onto  wire  – bending into shape and sewing around the edge.   the hood also has a bag of black velvet sewn at the back which would cover the hair.

Catherine Howard French Hood Billiment

 Her jewellery consists of a gold tassel and bead girdle around her waist worn with a collar made of gold cabochons and pearls.

Catherine Howard Costume Girdle

I remember this costume in the TV series and it looked great  however was a bit disappointed when I saw this copy in the exhibition.  It didn’t look like the costume I remembered at all however in all fairness it is probably quite old. Nevertheless it is still pretty and gives a flavour of Catherine Howard.

The Costume below was worn by Annette Crosbie as Catherine of Aragon in the 1970 BBC series ‘Six Wives of Henry VIII’. The first episode introduces Catherine of Aragon. It tells the story of her marriage to Henry VIII’s older brother Arthur and following his death, her marriage to Henry himself.  Moments of great joy (when Henry VIII asks her marry him) are juxtaposed with moments of great sadness (when her infant son dies) – it is a wonderful episode full of emotion.

Catherine Howard Costume

 Catherine of Aragon’s gown lacked the elegance and style of Anne Boleyn nevertheless this is still an attractive costume worn by Catherine in her youth when she had just arrived from Spain.  The dress is high waisted and created in brown cotton velvet  – it has been sprayed with paint (over a cut out patterned template I think) to give it a pattern and more depth and richness as the budget for the TV series was very tight – I think all lot more money is provided today to dress the current lavish costume dramas such as The Tudors!

Catherine of Aragon Bodice

The velvet dress is back laced with a black cord and the skirt is gathered onto the bodice  – it has a length of lace sprayed gold and appliquéd to the bodice to make the bodice of the dress appear richer. Catherine wears a pewter and pearl necklace in the Tudor style.

Catherine of Aragon Back of Dress

 It has a lovely square cut neckline made from brown mesh fabric which is appliquéd with pearls and silver rings set with opal coloured glass jewels.  If you look closely one of the jewels is missing, forgiveable when the costume is over 45 years old!

Catherine of Aragon Bodice Trim

The under sleeves are quite tight fitting  – a short sleeve over a longer sleeve.  The short sleeve matches the underskirt and has a gold lace trim. The longer straight sleeve underneath has been created in black silver brocade. There is also a brown velvet over/hanging sleeve attached and gathered at the shoulder – they are piped with cord to match the underskirt. A pretty little chemise frill can be seen peeping out from above the neckline – the fabric is probably fine linen or cotton.

Catherine of Aragon

The front of the skirt splits to reveal a black/silver brocade underskirt  – it has been made from stripes of silver and black glittery fabric sewn together- there is also a nice trimming on the sides of the split – a ribbon trim with scraps of gold guipure lace glued on with various beads and pearls- it does however show some wear as the beads have lost most of their opalescence.

Catherine of Aragon Border Detail

The under sleeves are quite tight fitting  – a short sleeve over a longer sleeve.  The short sleeve matches the underskirt and has a gold lace trim. The longer straight sleeve underneath has been created in black/silver brocade. There is also a brown velvet over or hanging sleeve attached and gathered at the shoulder – they are piped with cord to match the underskirt. A pretty little chemise frill can be seen peeping out from above the neckline – the fabric is probably fine linen or cotton.

Catherine of Aragon Sleeve Detail

The costume is topped by a Spanish Style headdress.  It has been made of a circle of brocade fabric in black and silver fabric which may match the long under sleeves – it has been padded and covered with silver ribbons appliquéd with large pearls. It looks like the headdress was held on by beige trim criss crossed at the centre and stitched to the edges (the beige lace looks suspiciously like elastic however I may be wrong)!

Catherine of Aragon Headdress

It is obvious close up that this costume has certainly been made on a budget and if you look closely all  lot of the decoration is glued together- but on the TV screen it did it’s job and Catherine looked still like a Spanish Princess! I have watched the film version of the TV series recently and I think the same costume with the addition of silver trimming under the bust was worn by Frances Cuka as Catherine of Aragon in the film version  – have a look yourself! 

The costume below based on an outfit worn by Patrick Troughton as the Duke of Norfolk in ‘The Six Wives of Henry VIII’ (1970). Patrick’s was a wonderful portrayal of this self-seeking Duke who twisted, turned and lied to keep the favour of King Henry VIII, successfully managing to outlive him! If you have ever seen the painting of the real Duke of Norfolk you will be struck by the resemblance he has to Patrick Troughton. By the way Benard Hepton who played Cranmer both in the film and TV series also has a striking resemblance to portrait of Archbishop Cranmer whom he portrayed!

Duke of Norfolk

Patrick Troughton played the Duke of Norfolk in the Six Wives of Henry VIII alongside Keith Michell as King Henry.  The copy of his costume here consists of a linen shirt with ties and pie-crust frilled collar – the sleeve frills can also be seen at the wrist. A velvet tunic  is tied at the neck and down the front by matching cords finished with aglets (metal tips).

Duke of Norfolk Front of Costume

Worn over the tunic tunic is a red satin doublet with long sleeves. The sleeves and front of the doublet have slashings to show the cloth of pink/silver brocade pulled out from underneath – they are also decorated with nice period pewter  buttons. The doublet fastens with hooks and eyes and has a black trim around the edges.

Duke of Norfolk Sleeve Detail

I think the slashing have been secured by hand by tiny stitches in matching thread. A heavy red wool Tudor robe lined with satin is worn over the doublet.  It has a beautiful fur collar than extends down the front full length – the fur on the sleeves is tied down the arm on the outside with brown cord ties.

Duke of Norfolk Robe Fur Edge with cord ties

His breeches or slops (the trouser equivalent of the day) are knee length in a type of dark purple/black fabric possibly a cotton damask or fine wool and slashed to show the brocade beneath. There is a lovely collar or chain of office with a beautiful gold coloured St George and the Dragon pendant in the centre – it shows The Duke of Norfolk was one of the highest ranking men in the land.  The costume is  topped off by a dark cotton velvet bonnet.

Duke of Norfolk Side View

The costume below is based on an outfit worn by Orson Welles in a ‘Man for All Seasons’ (1966) directed by Fred Zinneman. The film starred Paul Scofield, Wendy Hiller, Robert Shaw, Leo McKern, Susannah York, Nigel Davenport, John Hurt and Corin Redgrave with costume design by Joan Bridge and Elizabeth Haffenden. ‘A Man for All Seasons’ told the story of Sir Thomas More – a famous Catholic who stood against King Henry VIII in his quest to marry Anne Boleyn.  More was finally found guilty of treason and beheaded in the Tower of London. Orson Welles played Cardinal Wolsey the Chancellor of England who lost favour with Henry VIII because he failed to secure a divorce from Catherine of Aragon. Orson at this time was an actor in his prime and he was splendid as the self seeking and power hungry Cardinal who was without scruples.

Cardinal Wolsey

It was great to see a costume based on outfits worn in the  film ‘A Man for All Seasons’ particularly as I have never seen any costumes from this particular film. It was also fabulous to see a robe similar to the one worn by the great man himself Orson Welles. I could never forget his portrayal of the all ready doomed Cardinal Wolsey in this film. His Cardinals robe has been created from a very bright red figured taffeta with long cuffed sleeves and a caped collar. It looks like the edges have been piped and finely sewn by hand by hand. Underneath his robe he wears a shirt made of fine linen which has ruffles,a black ribbon trim and button at the wrists. it was worn with a red felt Cardinals hat and a pair of matching red suede shoes. The front of the costumes is fastened by gold filigree beads and loops on the upper part (capelet)  – the rest of the gown is fastened with red fabric covered buttons and buttonholes. It is quite a simple costume but the colour of the fabric really makes it stand out  – it has been beautifully made and crafted. It certainly does it job in making the character of the Cardinal easily recognisable.

Anne Boleyn and Cardinal Wolsey

I really enjoyed the Exhibition. The costumes all within the Tudor period were so different in quality and workmanship. Some are quite new and others have been around a lot longer.  As I am a designer myself I could tell which costumes had a larger budget for the fabrics and a longer time scale for construction.  I think a lot of money was spent on the Henry VIII costume for Rhys Meyers and next to nothing at all on the Catherine of Aragon costume worn by Annette Crosbie.  It is interesting to note however that probably one of the oldest costumes  – King Henry VIII worn by Keith Michell in 1970 is still in such good condition!  Nevertheless all the costumes in the display gave a favour of the period and aided in the rich characterisations which are so important for actors in period dramas. It was just wonderful to see up close how they were made.  I would certainly recommend the the Barley Hall in York to see this Exhibition – the costumes are great fun and the staff lovely!

It is the 400th anniversary of the death of William Shakespeare this year and his life and works  will be celebrated over the country.

William Shakespeare  was born in 1564  and died in April 1616 He was an English poet, playwright and actor and was widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist.

He is often called England’s national poet and the “Bard of Avon”. His plays have been translated into every major living language and are performed more often than those of any other playwright. In 2016 celebrations will commence in the United Kingdom and across the world to honour Shakespeare and his work.

Newcastle City Library will be joining in these celebrations and I am pleased to announce we have been booked to present our 16th Century inspired Fashion Show at Newcastle City Library.

We will present our show on Saturday 14 May  – our event is to be included as part of the popular ‘Late Shows’ which take place during the evening in the main library which is located in Newcastle City Centre.

We have already presented a number of events at the venue including costume talks and shows – it is a superb venue with wonderful facilities.We will present our Tudor Fashion Show show on the evening of 14 May- times to be confirmed.

My exciting show includes a eight exquisite costumes I have designed and created worn by models. They are accompanied by beautiful period music, a brief history of each historical figure and a talk about the design and construction of each costume.

My fashion show team consists of of eight people which includes four/five models.The show is both informative and interesting as well as humorous.

Our show presents King Henry VIII in full regalia arriving to a fanfare of trumpets, Queen Elizabeth I in an elaborate gold silk gown with decorative jewelled ruff, Queen Anne Boleyn wearing an elegant  blue silk/gold gown worn with a pearl trimmed French hood.

A stunning silk Peacock Blue dress with partlet for the young Mary Queen of Scots, a very attractive rose silk gown embroidered with gold for Queen Catherine Howard.

Also included are a stunning silver silk gown worn by Queen Jane Seymour or an elegant court costume with doublet, hat and sword for King James VI of Scotland. Mary Queen of Scots taking off her velvet robes to reveal her elegant execution gown is the dramatic finale to the show.

Please join us on 14 May for this celebration of Shakespeare – I am sure you will enjoy the show.

For more information click –  http://thelateshows.org.uk/2016/newcastle-city-library

Really enjoyed presenting our Tudor Talk with costume display this morning for the Newcastle Embroiderers Guild – it had snowed heavily very late last night and we were worried that when we woke up it would be a very heavy covering.

Hey presto! As if by magic all the snow had disappeared this morning and we had no problem to driving to Bartholomew’s Hall in Forest Hall near Newcastle upon Tyne – 0n a good day it’s only a 10-15 minute run from our home in Cramlington.

Newcastle upon Tyne Embroiderers’ Guild is a friendly, enthusiastic group of embroiderers – their aim is to share opportunities for creativity and promote embroidery for all – everyone is welcome, from beginner to expert.

The only qualification needed is an interest in, and love of, embroidery. – they group say you can enjoy embroidery and not pick up a needle.The ladies really enjoyed our talk and we really enjoyed presenting it.

One of my favourite costumes – my Blue Silk Anne Boleyn Gown has been chosen to grace the cover of a novel about my favourite Tudor Queen . I was happy to show the ladies a copy of ‘The Reincarnation of Anne Boleyn’  written by Nell Gavin  – my lovely model Laura is on the front and back cover wearing my gown.

While discussing Tudor underwear I mentioned that in the 16th Century Tudor ladies wore no type panties or knickers at all and that that type of undergarment was not deemed desirable or essential and in truth had not even been thought of – however strange that seems to us today.A lady attending the talk asked me if I knew where the names knickers and also panties comes from. The word drawers was invented because underwear was drawn on.

Apparently the word knickers  comes from a novel called History of New York by Diedrich Knickerbocker, supposedly a Dutchman living in New York (novel was actually written by Washington Irving).The illustrations for the book in this country showed a Dutchman wearing long loose fitting garments on his lower body.Knickerbockers were men’s loose trousers worn for sport so women’s underwear were soon called knickerbockers too. In the late 19th century the word was shortened to knickers in the late 1800’s . In America ladies undergarments are called panties, which is obviously a shortened form of the word pants.

I enjoyed chatting to the ladies after my talk and was happy to answer questions or queries about both my costume design and history of the Tudors. I even caught up with an old friend Kath who used to work with me at Northumbria University – it was great to see her.

I am currently producing a new talk for 2016.  It is about Fashion and Queen Marie Antoinette.  My 18th Century inspired costumes will include a pink patterned silk corset and panniers, La Reine Chemise worn with a pretty Bergere hat and and a fabulous court gown worn with an amazing wig.

This talk should be available from early next year – date to be advised. A number of the ladies I am pleased to say expressed an interest in booking my costume event-  I will be providing more information about my new talk in a future post.

We also enjoyed refreshments after my talk – I would like to thank the ladies for their help and hospitality – not forgetting my super son James who kindly set up the display.

Last Thursday we travelled to beautiful Grassington in Yorkshire to present a Tudor fashion Show for the North Yorkshire West Federation WI. It was a large federation event and it proved very popular being fully booked with a large numbers of members in attendance.

We presented our show in the Grassington Devonshire Institute – a large spacious building in the centre of the town. Built in 1855 as a Mechanics Institute and extended in 1923 and 1997, the present building houses a main hall with stage, octagon theatre with stage, kitchen, games room, two further letting rooms, changing rooms and foyer. It plays host every year to a number of popular events.

A number of ladies mentioned they have been watching the recent series ‘Wolf Hall’ on television. ‘Wolf Hall’ is a historical drama chronicling the rise of Thomas Cromwell, the son of a humble blacksmith who became King Henry VIII’s chief minister, as he navigated the corridors of power in the Tudor court.

The series includes appearances by King Henry VIII, Anne Boleyn and Jane Seymour – famous figures of the period all included in our show. A WI member mentioned she had just finished watching ‘Wolf Hall’ and was looking forward to seeing the costumes ‘up close’ – she certainly got the chance at our Tudor Fashion Show.

We chatted to members after the show  – questions included  ‘ are the skirts and bodices separate or stitched together?’, where do you buy your fabrics?’ and ‘how are the ruffs/wisps made?  – come to our next event and find out! All the ladies said they really enjoyed it – we certainly enjoyed presenting it!

On a personal note I found the execution of Anne Boleyn in Wolf Hall the most moving I have ever seen dramatized in either film or on television. Claire Foy gave a magnificent portrayal and although Anne was portrayed as not the most likeable person during the series – she certainly managed to gain our sympathy by the last scene.

This has proved our most popular year ever at Julia Renaissance Costumes – our booking for 16^th century events have certainly increased due to the massive interest in  ‘Wolf Hall’.

Incidentally our bookings for ‘Enter the World of Jane Austen’- my Regency costume talk with display- have also increased as it is the bi-centenary of the battle of Waterloo in 1815 – it is certainly proving to be a bumper year for us!

I would like to thank Margaret at the WI for all her help and support in making the event such a success  – I would also like to thank her for kind hospitality in providing lunch and drinks for my team.

We really enjoyed presenting the Fashion Show in the Grassington Devonshire Institute for the North Yorkshire WI.  Finally I would like to thank my splendid team for all their excellent work!

I have created a Regency Outfit which is to be worn in 2015 as part of my talk ‘Enter the World of Jane Austen’. This elegant outfit comprises of a shirt, trousers, waistcoat, coat and cravat. I have completed the shirt, trousers and waistcoat and still have to make the coat and cravat but thought you may be interested in seeing pictures of the costume so far. (Click any photograph for them to enlarge).

My Regency Shirt was created in the  1790-1830 in the English Style’ with period construction techniques.

The shirts were usually made in unbleached or partially bleached linen. It is interesting to note that  ‘Irish’ – a kind of flax linen is sometimes mentioned during this period for shirts. Although the shirts were usually plain – occasionally ‘checks’ such as blue-white and brown/white were used for work shirts. I have created this attractive shirt in fine linen fabric in an off-white shade. The fabric was washed in hand hot water twice prior to cutting as the material can shrink up to 10%.

While the choice of white material might seem go unnoticed today, in Beau Brummell’s time the wearing of white shirts, waistcoats and neck cloths was an indication of a man’s money.  In order to maintain an immaculate appearance in a filthy city or the country, these easy to dirty clothes would have to be changed at lot which meant a lot of laundering charges affordable only by the well off.

The pattern of a man’s shirt was relatively simple. It was made from a series of squares and rectangles sewn together to form an unfitted and comfortable undergarment.

The neckline is formed on the body by folding a rectangle of fabric lengthwise – it is then cut into a ‘T’ shape to form the opening for the head. There are also triangular gussets sewn to the edges of the neckline at each side with shoulder straps stitched over the top. The neckline is then gathered and drawn up to the correct size to fit the collar.  The collar cut twice the width required and then folded down in half and fastened by two buttons and tiny hand worked buttonholes.

The shirt sleeves are rectangles of fabric gathered into wristbands fastened by a single bone button and a hand sewn buttonhole. The cuff is decorated with top stitching – it was often made with replaceable cuffs (so the shirt would last longer).

The sleeves have a square of linen which is sewn to the top of each sleeve so when the shirt underarm seams are sewn together it creates a gusset to allow the arm full range of movement.  The shirt sleeves are then gathered and sewn to fit the shoulder seam. After the side seam is stitched a rectangle of fabric called a sleeve binder is sewn to the shoulder seam inside to strengthen and finish the shirt. The shirt also has side slits which are hand hemmed. The sleeve seam is dropped  – that is to say not placed at the top of the arm as are the seams in a modern dress shirt.

it is a very interesting fact that although the shirt frill at the front was very fashionable at one time it had fallen out of favour by this time as the cravat usually fully covered it Older gentlemen who were more conservative clung to the old insignia of rank with a ‘frilled shirt’. This however was usually worn only for  the evening and by 1800 had usually completely disappeared.

Although it can’t be seen in the photographs the shirt is very voluminous – it reaches to the gentleman’s knees and is tucked into the trousers.

In the photographs the gathered cuff, shoulder straps and dropped shoulder can clearly be seen. It is certainly a very attractive garment!

Regency Gentleman’s Waistcoat

I have created a beautiful silk damask and linen waistcoat as part of my regency Gentleman’s outfit.

To make this garment I have based the design on a single- breasted gentleman’s waistcoat circa 1790 – 1815. It has a standing collar and six buttons. The pattern is inspired by features and construction details from numerous waistcoats and contemporary patterns and illustrations.

During this period only plain colours for a shirts, jackets and trousers were deemed fashionable so with his waistcoat the Regency man was allowed to choose a pattern. Any colour of fabric can be used as long as it is a colour that can be created from natural dyes. Fabrics used for waistcoats include cotton, silk, wool or linen. Sometimes they were embroidered, as they had been in the 18th Century, or else they could have patterns woven into the material. . I have used very high quality woven 100% silk damask in shades of black and fawn.

The lining for regency Waistcoats was usually a nice quality cotton or linen in a natural light tan or cream – I have used tan coloured light brown linen which was a remnant left over from making the Regency trousers.(see below).

Although most of the waistcoat was hidden beneath the frock coat, the fabric could be seen along the edges of the front lapel and collar and from beneath the bottom front panels of the frock coat.   Regency period is all about elegant simplicity, no big floral type prints or anything too shiny. A regency waistcoat is also short, it reaches about an inch below the natural waist, it is not long like the 18th Century styles that hang to the hips. A regency waistcoat does not have have points – it is also a straight line across the front.

Please note during this period the waistcoat is intended to fit 1” below the natural waistline so the it will just cover the top of the trousers. There must be no gap between the waistcoat and trouser. It fits snugly and smoothly over the body so not creating bulk under the jacket. If required tapes can be attached to the back to tighten the fit across the chest and stomach.

It was usual to make the back of the silk waistcoat out of linen or a cheaper fabric as it would not be been seen  – the regency waistcoat was never worn without a coat.

For the interfacing have used light canvas which is period correct. I

Before I started I made a toile (a mock up of the body of the waistcoat) in cheap calico. A toile [“twahl”] – or a muslin – is an initial mock up of a garment made in cheap fabric so you can check and alter how the pattern fits your body before cutting into your nice fabric.

The first job is was to attach light canvas interfacing to fronts and apply stay tape (1/4” wide) along the hem line of the front edge  – this was to prevent stretching. I then hand stitched the lapel and front facings along the front and bottom edge. . The lapels are faced with silk only where the collar lapels turn back – the rest of the front lining is linen (see picture below).

Buttonholes are then worked down the front of the left front – I have sewed six neat buttonholes – not my favourite job I must admit!

The back waistcoat edges are then pressed under and attached to the fronts at the shoulder seams. The collar is interfaced with canvas and sewn with small parallel stitches (pad stitches) to help the collar curve and keep it stiff. The collar is then stitched to the neckline.

The collar is constructed to look the same inside and out – with the inner and outer collar edges even and the edges sewn together with over-stitches.  This creates a finished look from the front edges of a standing collar from any angle.

The lining was prick stitched to the outer front the full length of the arm scythe with lining and facing hemmed along the collar seam. The back lining edges are turned under and the back is attached to the front at the side seams.

The back lining is neatly hand stitched along the side seams, arm scythes and lower hem edge and the buttons attached. Bone, metal or wood buttons can be used during this period. However metal buttons were usually used for coats only so I have used these pretty buttons in natural coloured wood for my waistcoat. I think they look very attractive and tone with the fawn tone of the fabric.

Waistcoats are usually worn with the collar standing at this period. Some had pockets and some did not – it is I suppose a personal preference. I prefer the style without pockets for a smoother line.

Voilà a beautiful Regency Waistcoat and believe it or not it fitted perfectly first time – it was well worth the time spent making a toile!

Regency Gentleman’s Trousers

I have created these Regency Gentlemen’s Trousers   they have a high waist and were worn from 1790 to about 1810.

By the turn of the 19th Century, breeches, pantaloons and trousers worn by all men were sewn with a flap in front called a fall front. This flap was always held in place by two or three buttons at the top. No belts were worn instead breeches, pantaloons and trousers were held up by tight-fitting waists, which were adjusted by ties sewn in back of the waist.

As waists rose to the belly button after 1810, braces(also known as suspenders)  were used to hold the garment up. They were designed for the waistband to be worn just under the natural waist.

The Trousers were slit up the seam for a few inches above the ankle as this allowed the foot to get through the leg of the pants. Trousers were made of wool, linen or cotton. Though they were at first only appropriate for day-wear they eventually gained acceptance for wearing in the evening as well.

The back had rather full fabric which I have pleated into the waistband at the back –  seats were baggy to allow a man to rise easily from a sitting position. They also could have a drawstring tightening at the back (the behind should never be seen since it’s always covered by tails). My trousers were inspired by the style of several pairs of trousers from late 1700’s and early 1800’s. To be honest they do look strange and full at the back –  when compared to modern trousers but nevertheless are correct for the regency period.

These trousers have the waistband in two sections, left and right with a lace tie at the back and buttons in front. There is fall closing (which unbuttons to let the flap down) and below fall flaps called bearers. There are also rectangles of fabric called binders which finish the edges of the the fabric cut to create the flap. A pocket is placed on each side which has  button closures. There are also short opening at the ankle seams called vents and linings in the fall and waistband. Legs are cut on the straight grain with no pressed creases!

The bottom edge of the waistband sits at the natural waist and the  ankles are loose and finish at the ankle bone not the shoe as in modern trousers. Suspenders or braces must be used to hold them up.

Fabrics used during the regency period included cotton, flax, hemp, linen, wool and cotton/linen mix. Colours included yellow-tan, blue various browns, white and pale colours for fine dress or a variety of other deep tones worn with a dark blue, green, or brown coat. I have used a fawn shade of medium weight linen with black cotton for the lining.

The trousers were assembled as a left and right half and then joined at the crotch seam.

I lined the bearers (also known as under-fall) and stitched two buttonholes on the left side of the bearer only.

I attached the fall binders and bearers to the trouser fronts. I then attached the fall linings.

I made the pockets in black cotton fabric and attached them to the trouser front. I then worked buttonholes in the pocket flaps and fall binders and stitched the bottom edges of the pocket together on the inside.

I then stitched the side seams of the trousers and hemmed the ankle vents. The waistband was lined and attached  – I pleated the fabric to fit at the back – about eight pleats each side.I left the back open (for the lacing).

I sewed buttonholes in the left waistband and stitched the inseams and crotch seam. Finally I worked two eyelet holes into both sides of the back waistband and. threaded through a tie for fastening. I then attached 9 buttons!

I also made a pair of simple braces of brown coloured woven strapping attached to the trousers by four wooden buttons – two at the front and two at the back. The cross at the back is back stitched in a diamond shape to prevent the braces from slipping off the shoulders.

The trousers fit very well and certainly look the part with the waistcoat and shirt.

I have included only basic construction notes in this post however If you would like to recreate these garments yourself I would certainly recommend Kannik’s Korner patterns which include full and comprehensive instructions. For more information I would be happy for you to contact me.

By the way just a note – I am currently searching for some period glasses as Specsavers aren’t quite the part -if anyone can help please contact me!

My next project is to design and make a regency Gentleman’s coat and cravat to complete this costume – I will be posting pictures when finished so please watch this space!

King Henry VIII with Anne Boleyn and Jane Seymour

To launch the 2014 Winter Programme members of the National Trust were invited to a fashion show with a difference held in the atmospheric surroundings of Washington Old Hall.

I presented my Period Fashion show in this beautiful period building which is steeped in history. Washington Old Hall is a manor house located in the Washington area of Tyne and Wear. It lies in the centre of Washington, being surrounded by other villages.
The manor was the ancestral home of the family of George Washington, the first President of the United States.The name Washington goes back to Anglo-Saxon times. The Norman knight, William de Hertburn, settled on the manorial land here before 1183.  Another house was on the site at the time, and over the years the family improved it and added a hall. Parts of the original hall are still in existence, notably the west end arches of the great hall.

Queen Elizabeth I

Our show took place downstairs in the very beautiful hall – at one end of the hall the arches provided a very attractive backdrop for my costumes. It was commented upon how perfectly the dresses suited the venue and how they brought history to life! Wine and canapés were also served in the Liberty Hall upstairs.

A very nice lady at the show particularly loved the silver silk Jane Seymour Gown. She commented  “It it is absolutely perfect for  Queen Jane Seymour, the design of crosses in the fabric is perfectly suited to her pious nature” she also mentioned that Jane loved pearls. That is why I used pearls to embellish the bodice and underskirt of this very elegant gown.

I would like to thank Douglas the lovely gentleman who booked the show for all his help in making the show such a success as well as the very kind man who served myself and my team refreshments during the evening. Not forgetting my friend Diane who introduced Douglas to my work – Thank you all – without your help this event would not have taken place.

[See image gallery at www.tudortalkandcatwalk.com]

A television crew from South Korea filmed our show as part of a documentary about Fashion and Corsetry throughout the ages.  I was interviewed by Gina – a lovely Korean lady who  organised the film crew.  I also met the director Luciano Cho of ‘Story On’ the award winning documentary makers who are producing the programme for KBS-TV- the Korean equivalent of the BBC. I enjoyed being interviewed by the team – we chatted about the ‘Renaissance Period’ – the significance of costume and importance of underwear to provide the correct period shape.

My husband was also interviewed – they were very impressed by his very ornate and splendid costume. When he was asked “Why was the costume so ornate” he answered: “Henry VIII portrayed himself as not only a King but as a God – this gave him more power and prestige among his subjects”.

Rachel as Anne Boleyn

The crew filmed in the event with a state-of-the-art camera which recorded in 4K resolution, a format beyond standard HD. I was told that not even the BBC has adopted this camera technology yet.

We really enjoyed the evening – it was very interesting and to be honest quite exciting to be part of a television production.

I mustn’t forget to mention that I was presented with a beautiful gift by Gina the leader of the television crew. An absolutely stunning Korean mother of pearl jewellery box with silver butterfly hinges.  A wonderful gift that I will always treasure – it is so beautiful I have shared a couple of pictures of my gift.

I mustn’t forget to thank my team for a splendid show – Kevin on sound, my son James as Narrator and my husband Mick resplendent as King Henry VIII. My two new models Emma and Rachel were splendid in their first show with Helen my lead model superb as usual!

As soon as I receive a copy of the documentary I will see if it is possible to put an excerpt on my website – so watch this space!

Washington Old Hall

We are presenting two Period Fashion Shows this month. I am very excited to announce that the first show at Killingworth is to be filmed and featured on television! The second show is to be presented at beautiful historic Washington Old Hall in Tyne and Wear!

My exciting and dynamic Period Fashion Show includes historically inspired costumes worn by models accompanied by beautiful period music. There is also a brief history of each historical figure and a talk about the design and construction of each costume. Our show includes Elizabeth I, Henry VIII, Anne Boleyn, Jane Seymour, Catherine Howard and Mary Queen of Scots taking off her velvet robes to reveal her elegant execution gown. 

Tudor Inspired Historical Costumes

We have been booked by North Tyneside Council to present our Tudor Fashion Show at the White Swan Centre in Killingworth on Thursday 25th September 2014. The Centre has excellent facilities and is used to present special events such as weddings and shows. It is an attractive airy building with beautiful natural light – a wonderful setting for our Show.

My Tudor Fashion Show at Killingworth is to be featured on television.  It is to be filmed by South Korean TV Station KBS – the Korean equivalent of the BBC. KBS produces award winning documentaries internationally. The documentary  is to be called ‘Fashionable’  – it will be filmed in UHD, the latest high definition and will be all about hidden and amazing history about fashions, focusing on Corsets and Renaissance Costumes.  We are very excited to be a part of this excellent production.

The show is to presented on Thursday 25 September 2014 at 7pm – for more information including details of how to book please visit the following-

http://www.friendsaction.co.uk/events/tudor-fashion-show

http://www.northtyneside.gov.uk/browse-display.shtml?p_ID=553544&p_subjectCategory=1298

Washington Old Hall

The following evening Friday 26 September we will presenting our Tudor Fashion Show again in the wonderful Washington Old Hall in Washington Village for the National Trust. Washington Old Hall is a Manor house associated with the family of George Washington, the first president of the USA. At the heart of the historic Washington village lies the picturesque stone manor house and its gardens which provide a tranquil oasis, reflecting gentry life following the turbulence of the English Civil War. The building incorporates parts of the original medieval home of George Washington’s direct ancestors, and it is from here that the family took their surname of ‘Washington’. It will provide a wonderful historical setting for my historically inspired costumes. I am really looking forward to presenting the show in such an amazing setting – for more information visit http://www.durhamnt.org.uk/socials.html

It is an very exciting time  – I do hope you will join us and become part of my costume events!