The vast wardrobe of Queen Elizabeth I is legendary: in her own time some of the richly embroidered gowns were displayed with other treasures to dazzle the eyes of foreign visitors to the Tower of London. The quantity of clothes recorded in the inventories taken in 1600 would seem to suggest sheer vanity, but a survey of work carried out in the Wardrobe of Robes throughout the reign reveals a different picture. It is one of careful organisation and economy. This copiously annotated work is illustrated with photographs of portraits, miniatures, tomb sculptures, engravings, woven textiles and embroideries. Two indexes are provided, the first of paintings, persons, places, and events, while the second, partly a glossary, enables the reader to quickly trace information on fashionable dress and accessories. An invaluable reference for students of the history of dress and embroidery, for social historians, for art historians working in the field of portraiture, and those with a general interest in the period. Case-bound in cloth with dust jacket.
This book provides photographs of portraits, miniatures, tomb sculptures, engravings, woven textiles and embroideries of clothes found in the wardrobe of Queen Elizabeth. It is an invaluable reference for students of the history of dress and embroidery, for social historians and art historians.
A detailed study of Tudor textiles, highlighting their extravagant beauty and their impact on the royal court, fashion, and taste At the Tudor Court, textiles were ubiquitous in decor and ceremony. Tapestries, embroideries, carpets, and hangings were more highly esteemed than paintings and other forms of decorative art. Indeed, in 16th-century Europe, fine textiles were so costly that they were out of reach for average citizens, and even for many nobles. This spectacularly illustrated book tells the story of textiles during the long Tudor century, from the ascendance of Henry VII in 1485 to the death of his granddaughter Elizabeth I in 1603. It places elaborate tapestries, imported carpets, lavish embroidery, and more within the context of religious and political upheavals of the Tudor court, as well as the expanding world of global trade, including previously unstudied encounters between the New World and the Elizabethan court. Special attention is paid to the Field of the Cloth of Gold, a magnificent two-week festival—and unsurpassed display of golden textiles—held in 1520. Even half a millennium later, such extraordinary works remain Tudor society’s strongest projection of wealth, taste, and ultimately power.
No one interested in the history of dress, from art historians to stage designers, from museum curators to teachers of fashion and costume, can function effectively without Janet Arnold's Patterns of Fashion series, published by Macmillan since 1964. Since her untimely death in 1998, admirers of her work have been waiting, with increasing impatience, for the promised volume devoted to the linen clothes of the Elizabethan and early Stuart periods, a companion to her previous volume on tailored clothes of the same era. Planned and partly prepared by Janet herself, and completed by Jenny Tiramani, Janet's last pupil, no other book exists that is dedicated to the linen clothes that covered the body from the skin outwards. It contains full colour portraits and photographs of details of garments in the explanatory section as well as patterns for 86 items of linen clothing which range from men's shirts and women's smocks, from superb ruffs and collars to boot hose and children's stomachers. Beautifully produced, it is an invaluable guide to both the history and the recreation of these wonderful garments.
This illustrated survey of 600 years of fashion investigates its cultural and social meaning from medieval Europe to twentieth-century America. Breward's work provides the reader with a clear guide to the changes in style and taste and shows that clothes have always played a pivotal role in defining a sense of identity and society, especially when concerned with sexual and body politics.
How did the Tudors enjoy themselves? For the men and women of Tudor England there was, just as there is today, more to life than work. Four hundred years before the invention of television and radio, they did not lead boring or mundane lives. Indeed, in many ways the richness of Tudor entertainment shames us. While continuing the medieval tradition of tournament and pageantry, the Tudors also increasingly read and attended the theatre. Dancing and music were also popular, and were considered just as important as hunting and fighting for an ambitious Tudor's social skills. Church festivals provided the perfect excuse for revelry, and christenings and weddings were, as they are today, great social occasions. Here, Alison Sim explores the full range of entertainments enjoyed at that time covering everything from card games and bear baiting to interior design.
Henry VIII used his wardrobe, and that of his family and household, as a way of expressing his wealth and magnificence. This book encompasses the first detailed study of male and female dress worn at the court of Henry VIII (1509-47) and covers the dress of the king and his immediate family, the royal household and the broader court circle. Henry VIII's wardrobe is set in context by a study of Henry VII's clothes, court and household. ~ ~ As none of Henry VIII's clothes survive, evidence is drawn primarily from the great wardrobe accounts, wardrobe warrants, and inventories, and is interpreted using evidence from narrative sources, paintings, drawings and a small selection of contemporary garments, mainly from European collections. ~ ~ Key areas for consideration include the king's personal wardrobe, how Henry VIII's queens used their clothes to define their status, the textiles provided for the pattern of royal coronations, marriages and funerals and the role of the great wardrobe, wardrobe of the robes and laundry. In addition there is information on the cut and construction of garments, materials and colours, dr given as gifts, the function of livery and the hierarchy of dress within the royal household, and the network of craftsmen working for the court. The text is accompanied by full transcripts of James Worsley's wardrobe books of 1516 and 1521 which provide a brief glimpse of the king's clothes.
COSTA AWARD FINALIST ECONOMIST BOOK OF THE YEAR Film rights acquired by Gold Circle Films, the team behind My Big Fat Greek Wedding. A groundbreaking reconsideration of our favorite Tudor queen from the author of Queen of Scots, now a feature film starring Saoirse Ronan and Margot Robbie “A fresh, thrilling portrait… Guy’s Elizabeth is deliciously human.” –Stacy Schiff, The New York Times Book Review Elizabeth was crowned queen at twenty-five, but it was only when she reached fifty and all hopes of a royal marriage were behind her that she began to wield power in her own right. For twenty-five years she had struggled to assert her authority over advisers, who pressed her to marry and settle the succession; now, she was determined not only to reign but to rule. In this magisterial biography, John Guy introduces us to a woman who is refreshingly unfamiliar: at once powerful and vulnerable, willful and afraid. We see her confronting challenges at home and abroad: war against France and Spain, revolt in Ireland, an economic crisis that triggers riots in the streets of London, and a conspiracy to place her cousin Mary Queen of Scots on her throne. For a while she is smitten by a much younger man, but can she allow herself to act on that passion and still keep her throne? For the better part of a decade John Guy mined long-overlooked archives, scouring handwritten letters and court documents to sweep away myths and rumors. This prodigious historical detective work has enabled him to reveal, for the first time, the woman behind the polished veneer: determined, prone to fits of jealous rage, wracked by insecurity, often too anxious to sleep alone. At last we hear her in her own voice expressing her own distinctive and surprisingly resonant concerns. Guy writes like a dream, and this combination of groundbreaking research and propulsive narrative puts him in a class of his own. "Significant, forensic and myth-busting, John Guy inspires total confidence in a narrative which is at once pacey and rich in detail." -- Anna Whitelock, TLS “Most historians focus on the early decades, with Elizabeth’s last years acting as a postscript to the beheading of Mary Queen of Scots and the defeat of the Spanish Armada. Guy argues that this period is crucial to understanding a more human side of the smart redhead.” – The Economist, Book of the Year
