I am demonstrating the design and construction of my handmade reproduction gowns and also a brief history of the people who wore them. I will also include reproduction underwear so thought  it would be an opportune time to give a brief outline of the underclothes I will be showing at my Tudor talk.

The Chemise

The first layer for everyone high or low was the chemise also called a “smock” or “shift” in the 16th century, which 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 low-necked gathered smock – it has a   very voluminous body and sleeves, I have gathered the fabric into a low 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.

The Corset

Over the chemise was worn the corset – my corset has been inspired by the corset found on the ‘effigy’ of Elizabeth the First (below).

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 sometimes 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. The corset was worn over the chemise to save it from perspiration so it didn’t have to be washed too often.

The Spanish Farthingale or Hoop Skirt

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.

The Bum roll

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 “roll”; “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.

• Without the foundation garments the shape of the dress of the period would be unable to be achieved so it is a very important part of the costumes.
• No type of panties or knickers were worn at this time -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.
• “Tudor clothing was time-consuming to don and doff, stiff, heavy, hot, never comfortable, never really clean and probably never free of accumulated body odours and the perfumes to mask them. Patterned with decorative stitching, heavy with embroidery, jewels and trumpery, over garments lay layer upon layer over corsets, shifts, bodices and other undergarments, some exaggerating the body’s natural shape, others camouflaging it.” 

Although you would probably looked splendid in the 16th Century Court Fashions they certainly were I am sure you’ll agree not the most comfortable to wear or to wash!

My talk includes a fabulous display of exquisite gowns decorated with pearls and semi-precious stones, elaborate headdresses, jewellery and fans.

Perfect background for fans of historical fiction.

This event will take place at Community Hub Central, Hartlepool. 

Please note: Tickets will not be issued for any of these events, and you do not need to bring along a booking confirmation. When you arrive at the event, please give a member of staff the name of the person who booked for your party to gain entry.

If you are having trouble booking online, please phone ARC box office on 01642 525199 to book over the phone.

Hope you will join me for this very special event!

arconline.co.uk/whats-on/crossing-the-tees/tudor-costumes-with-julia-soares-mccormick?fbclid=IwAR0net2TiUvWfq5d_optw1K77quDToO5aX8mMwrjoYsxLRKFtSk–xosujY

France was one of the fashion leaders of this era. So I thought you may find it interesting to find out a little more about the face paints and hairstyles during the 18th Century. Included in my Marie Antoinette talk is a reproduction of one of the high wigs of the period as well as the lower wider wig known as the hedgehog!

Hair styling and cosmetics application had a particularly important function in France.  The toilette, or dressing, was a daily ceremony in which important persons were dressed (including hair styled and cosmetics applied) before a select audience, the ritual was created by Louis 14^th.

For the 18th Century ideal of beauty her forehead was high, her cheeks plump and rosy, and her skin was white. Fashionable eye colours included black, chestnut, or blue; eyebrows were divided (i.e. no monobrows), slightly full, semi-circular, and tapered at the ends in a half moon shape.  Her lips were small, with a slightly larger bottom lip creating a rosebud effect, soft, and red.  

The ideal woman of the 18th century had hair that was black, brown, or blond (particularly fashionable during Marie-Antoinette’s reign); strong red hair was unfashionable and generally would be dyed a different colour, although chestnut and strawberry blond were popular.  Her hair was of wavy or curly texture.

Wigs were introduced in the 17th century, when King Louis 13th (1610-43), who had let his own hair grow long, began to bald prematurely at the age of 23. They were made in general with human hair, but also with hair from horses or goats to make new headdresses every day of the week.

It is in the 1760s that hairstyles featuring height began to appear.  This height was generally equal to about 1/4 to 1/2 the length of the face, and is usually styled in an egg shape.

In the mid- to late-1770s, huge hair became all the rage.  The height of these styles was generally about 1 to 1 1/2 times the length of the face, and was styled in what was considered a pyramid shape (it also looks very much like a hot air balloon).

Hair was nearly always curled, waved, or frizzed before styling, to create texture.  Styling was accomplished with combs and curling irons, held with pins, and dressed with pomade.  When height was desired, it was raised over pads made of fabric or cork shaped like a heart or spear –  wool, tow, hemp, cut hair, or even wire were also used.

They were attached to the top of the head, and then natural and false hair was curled, waved, or frizzed and piled over and around the cushion.  Such elaborate hairstyles could be worn for days or weeks at a time.

Side curls angled up towards the top back of the hair.  The back hair was generally styled in a looped-up ponytail or braid.  Long curls were often left hanging at the nape of the neck.  French styles often had an extra “bump” in the front of the hair, right above the forehead.  In this period, both French and Englishwomen usually powdered their hair.

Powdering was introduced when King Henry 4 of France (1589-1610) used dark powder on his greying hair.  By 1715, wigs started to be powdered. Hair powder was originally used mostly as a degreaser.

White haired wigs were popular because they were expensive and rare, and so men and women began (in the early 18th century) to use white powder to colour their wigs and hair, as it was less destructive than dye.

Hair powder was made from a variety of materials, from the poorest quality in corn and wheat flour, to the best quality in finely milled and sieved starch. It was usually white, but it could also be brown, grey, orange, pink, red, blue, or violet. 

The application of white powder over dark hair produces shades of light to dark grey and White powder applied over very light hair produces a heightened blond effect.

Powder was applied with a bellows (the person being powdered being covered with a cone-shape face mask and fabric smock), with a puff for touch-ups and a knife for removal. To powder wigs, people used special dressing gowns, and covered their faces with a cone of thick paper.

 The high hairstyle ornaments included lots of ribbons, pearls, jewels, flowers, feathers, as well as ships, birdcages, and other items that evoked the theme.  In 1774, the Duchess of Devonshire created a sensation when she introduced ostrich feathers into her hair. The high hairstyle ornaments included lots of ribbons, pearls, jewels, flowers, feathers, as well as ships, birdcages, and other items that evoked the theme. In 1774, the Duchess of Devonshire created a sensation when she introduced ostrich feathers into her hair.

Fashion loving ladies of XVIII century were often decorating their hair with jewels. The most sophisticated beauties tried to come up with a more original decoration by attaching stuffed birds, figurines, frigates, ships with sails, mini-gardens with tiny artificial trees and castles models. The making one single piece stylists worked between 1 and 10 hours in a row. Marie Antoinette  even put a Frigate in her hair to celebrate a French naval victory!

Such elaborate hairstyles could be worn for days or weeks at a time The hair was not washed at all for months and was only combed with specially made tool resembling to a metal hand..
To keep this artistic work as long as possible, it was regularly greased with pork lard. A typical hairstyle was height of about one meter. Sleeping with such a haircut was possible only on special cushions. A metal grid was worn on the head to protect the sleeping beauty from mice. Because of the unusual shapes of each individual hairstyle, bespoke hats were made in order to not damage the hair.

• In 1781, Marie-Antoinette lost much of her hair after the birth of the dauphin. Famous coiffeur Léonard Autie later claimed that he created for her the coiffure à l’enfant, which she wore, along with her chemise à la Reine, in the famously reviled painting by Louise Elisabeth Vigée-Le Brun. 

• Growing interest in what were considered “natural” fashion, brought about by the Enlightenment, created what was a more “natural” style in the 1780s. During 1779-81, the shape of the hair started to become rounder and height began to diminish. This lower form of the pouf tended to be worn with fatter side curls than previously.

• This became the hedgehog style was fashionable in the 1780s and 1790s. This is the very big enormous hair full of curls that seems easily done and wildly styled, you can see it all the time in Thomas Gainsborough portraits

• The hair was cut shorter to form a large curly or frizzy halo around the head, which was wider than tall. A small hank of much longer hair, either left straight, in ringlets, or braided, hung down the back or was worn looped up.  These styles could still be very large, and false hair continued to be used to fill out a woman’s natural hair.

In keeping with this more “natural” look, powdering began to fall out of favour, although it still appears frequently in paintings and fashion plates.  Powder fell definitively out of fashion in France with the Revolution of 1789; in England. In keeping with the mood of the period, ornamentation became more restrained, generally a ribbon, or a few feathers, flowers, or jewels.

I hope you have enjoyed reading this post and that you will come along to my Marie Antoinette talk to see both the very high over ornate court wig and the hedgehog wig yourself! 

27 March 2017 “Enter the World of Jane Austen” – Witham Group of W. I’s 

We will present our talk “Enter the World of Jane Austen” – Regency Costume Talk with Display for Witham Group of W. I’s 27th March 2017 at Washing-borough near Lincoln. A very interesting, lively, humorous and informative lecture about the design and construction of gowns I have created inspired by the Regency period. Beautifully costumed mannequins/dummies will accompany the talk. I will include several costumes and some underwear inspired by the period as well as a morning dress, afternoon dress and evening gowns.

2 May 2017 Regency Talk  – Rothbury WI

We are looking forward to presenting our Jane Austen talk for Rothbury WI. Our venue is the Rothbury Golf Club located across the river from the centre of picturesque Rothbury in Northumberland. We will present the talk in a large airy room with a superb backdrop of the rolling hills of Northumberland. My costume display will include superb reproduction Regency underwear based on extant of the period – a chemise, corset and pantalettes – I will illustrate how important it is to wear the correct foundation garments as the true period shape would be impossible to achieve without them.

5 July 2017 South Shields  – U3A

On 5 July, we will present our Regency Talk – Enter the World of Jane Austen’ for the U3A – The University of the Third Age. We had had a number of bookings for the U3A and always enjoy presenting events for them. We will present our talk in a large spacious hall in the centre of South Shields. The U3A is an organisation was established in South Tyneside in 2001 – it’s motto is ‘Friendship, Fun and Learning’. South Tyneside U3A offers many opportunities to explore new interests, expand old ones and learn something different. They believe in learning for fun rather than qualifications or exam results. We are also looking forward to presenting our new talk about Marie Antoinette for the U3A later this year. 

 2 October 2017    Marie Antoinette  – Bede of Jarrow U3A 

I am presenting a costume event for the University of the Third Age in Jarrow.  This is the third lecture I have presented for the U3A and the very first presentation of my lavish new talk about the 18^th century called ‘Queen of Fashion: What Marie Antoinette Wore to the Revolution’. An integral part of my new talk is a comparison between the large elaborate court gown worn by Marie Antoinette for formal court occasions and the more casual Chemise a la Reine which she preferred.  I will also include a superb costume display of mannequins wearing a La Robe Francaise, La Reine Chemise and reproduction 18^th Century underwear. 

https://u3asites.org.uk/bede/page/61618

La Robe Francaise

 12 October 2017    Regency Talk  – The Mansion House 

I am pleased to be presenting my talk ‘Enter the World of Jane Austen’ for the Mansion House in Doncaster. My Regency talk is a very interesting, lively, humorous and informative lecture about the design and construction of gowns I have created inspired by the regency period. Beautifully costumed mannequins/dummies will accompany the talk. Included are a very pretty white cotton afternoon dress for Jane Austen worn with bonnet, chemisette and velvet spencer,a sumptuous lilac silk ball gown embellished with gold lace – worn with a turban, fan and gloves and Regency Underwear – chemise, corset and pantalettes plus accessories. Also included is a very pretty morning dress and an exquisite gold-encrusted court gown inspired by Empress Josephine, wife of Napoleon Bonaparte. I also will be assisted by a Regency Gentleman wearing a silk waistcoat, shirt and cravat.

http://www.doncaster.gov.uk/Events/enter-the-world-of-jane-austen-with-julia-soares-mccormick

Saturday 9 December 2017 – Marie Antoinette – Tee-side WI 

This will be my second presentation of my fabulous event about Marie Antoinette.  I will include a Pink Silk Court Gown worn with fabulous wig adorned with towering feathers, a very pretty romantic white cotton dress worn with Hedgehog wig and Bergere (shepherdess style) hat and 18th Century inspired underwear.  The underwear includes a corset, a chemise and two types of panniers – the pocket hoops and the Grand pannier which held out the very wide skirts! 

Chemise a la Reine

 10 March 2018   Marie Antoinette  – East Yorkshire Embroidery Society   

On Saturday 10 March, I will be presenting my new talk about Marie Antoinette and her costumes for the East Yorkshire Embroidery Society.  I will be including a fabulous costume display and also some very interesting information about Marie Antoinette herself. I have already presented both my Tudor and Regency talks for the group and I am sure they will enjoy this new talk.  They are a lovely group who are very interested and informed about costume. I am really looking forward to presenting it.

https://eyes-embroidery.co.uk/201617-programme/

13 March 2018  Marie Antoinette  – Royal Scots Club Edinburgh

I always enjoy presenting my talks for the Royal Scots Club.  They really enjoyed my Regency Talk a couple of years ago and I am sure they will enjoy my new talk inspired by clothing worn in the 18^th Century.  The Royal Scots Club is located in a beautiful building in the heart of Edinburgh.

My new talk ‘Queen of Fashion: What Marie Antoinette Wore to the Revolution’ includes reproduction 18th Century costumes – they will include a very elaborate Pink Silk court dress ‘Robe a La Francaise’ worn with large ornate pompadour wig and accessories. A “Chemise a la Reine” a simple gown worn by Marie Antoinette herself – worn with a Bergere hat and powdered curled hair. Also 18^th Century Underwear – a beautiful silk boned corset, side panniers and petticoat.

5 April 2018     Marie Antoinette   – Dumfries Embroiderers’ Guild

I always enjoy vising Scotland as it is one of my favourite places so I am particularly pleased to be presenting my new talk about Marie Antoinette and Fashion there on Thursday 5 April 2018. I really enjoy presenting talks to Embroiderers Guilds as the ladies really enjoy anything connected to fashion and sewing. I will be including a number of costumes I have designed and made which were inspired by costumes of the 18^th century. I am looking forward to it!

https://dumfrieseg.wordpress.com/meetings/

Pink Silk Court Gown

We presented out talk in a large spacious hall in the centre of South Shields. 

The U3A is an organisation was established in South Tyneside in 2001 – it’s motto is ‘Friendship , Fun and Learning’. It was certainly fun meeting all the lovely members.

South Tyneside U3A offers many opportunities to explore new interests, expand old ones and learn something different. Learning for fun rather than qualifications or exam results.
They say it is never too late to learn and research has shown that remaining active; both mentally and physically; is hugely beneficial to our health and happiness in later years.
Members share their skills and life experiences with a wide range of activity groups all organised by members themselves.

There were over 100 people who attended my talk- a mix of men and women- they were a lot of members keen to speak to me and have a close look at my costumes   The ladies all said they really enjoyed it – I also had a couple of gentlemen state they found it very interesting – success indeed as I don’t usually have a lot male interest in costumes!

Part of my talk mentions the undergarments of regency ladies – I include a chemise, corset and pantalettes – which were the first type of knickers ever worn!  They were two tubes of fabric which were based on men’s trousers.  They were separate legs and not joined at the top at all – a lady at my talk mentioned that the term a ‘pair of knickers’ might have originated when the knickers were separate legs and she is probably right!

The group were very hospitable and friendly.  I would like to thank Cheryl who booked me for all her help. She also asked me for information regarding my new talk ‘Marie Antoinette and what she worn to the Revolution’ which is I will be presenting for the first time later this year.

We really enjoyed visiting the U3A and look forward to visiting them again.

Last night we presented our Regency Talk and Costume Display for Heighton WI – Heighton is a very pretty village quite close to Newton Aycliffe.It was for a special WI event called a friendship evening and we were happy to present the entertainment.

The ladies enjoyed special cake and gateaux baked specially for the event  – enjoyed with prosecco wine. We were of course asked to join them however an alcoholic beverage is possibly not the best idea prior to presenting a costume talk!

I presented my Regency Talk which included costumes inspired by  Jane Austen and Empress Josephine among others.

After the talk I was pleased to offer a question and answer session.

One of the very interesting questions included –

What types of lace were used in the regency period? 

We will be returning to Heighton WI to present my new talk “Marie Antoinette and what she wore to the Revolution” – we are certainly looking forward to it!

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