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Final Reflection on the Tudor Project-- analysis on how to make this gown correct for 1530-36

So now that I have had some distance from my work with the Tudor Project, I want to fairly analyze my work on the Anne Boleyn  portrait reproduction.

The Research

I wish I'd had 6 more months to do research. In the months since our project completed more research on early Tudor garments has been published by the Tudor Tailor workshop in England. In addition to their new book, The Queen's Servants, I have found illuminations depicting French and Flemish court ladies in full length.  It is my belief that Anne would not have been wearing a hoop skirt as I did last fall. According to the Tudor Tailor shop hoops are not worn in England until the 1540's, putting them well out of what Anne was likely to be wearing. Incase you need further help to visualize the difference, take a glance at these two portraits of Princess Elizabeth. The portrait on the left is from a mural at Hampton Court. On the right there is a portrait which was painted later for King Edward VI, Elizabeth's brother.


(left) Princess Elizabeth, c. 1543-1547.  'The Family of Henry VIII', detail. Anon. Hampton Court Palace. © The Royal Collection.
(right) Princess Elizabeth, c. 1546-7. Attr. to William Scrots. Windsor Castle. © The Royal Collection.

The my other problem that could have been solved with more research was the gold embellishments around Anne's neckline. I only had a few weeks to try and figure them out and chose to use bead in their place.

Recently I started doing research on this again and hypothesized that these gold embellishments are beads covered in gold thread. For progress on this piece of research look at my post on thread covered buttons.

The Construction

My Smock--- My smock was a recycled muslin one from back in the day due to budget concerns at the time. I plan to construct a new one of handkerchief weight linen soon and then I will re-apply my embroidery  . I also need to cut the neck of my smock smaller than I did on this one.

Foundations--- No one in our project had time to make a proper foundation kirtle. Some ladies had boning put strait into their bodice. I chose to use tent canvas as an inner lining on my over gown and to wear my pair of bodies and half petticoat from another outfit. The skirt would occasionally slide an inch to display the waistband of the petticoat. I will remedy this by constructing a boned kirtle as shown in the Tudor Tailor.

Over gown--- I am generally very happy with my gown. The shape of the back is modeled after a sketch by Holbein, and The Tudor Tailor. My hem was stiffened with felt, a 16th century practice. The skirt was lined so that I could attach my skirt to bodice by hand--- a period practice. My gown as a train, not one large enough for a member of the royal family, but it was enough to create an effect and for me to learn to maneuver in them. My placard is pinned in place, but I need to acquire better pins to that end. Faux fur for my sleeve lining was not only cheeper, but I did not want to use real skins for ethical reasons.




Accessories--- I ordered my "B" necklace from the UK. The other necklaces were made from pieces available at our local bead store. My fore sleeves (half sleeves) have seed beads which were not in use at this time, and I need to make them slightly narrower or add false poofs in my slashing. Finally I am happy with my French Hood. I patterned the hood myself, and did some research into that gold frill across the top. The best research I have seen suggests that it is attached to a coif i would wear under my hood, but in this state I was worried about having so many layers on my head to trap heat. As a result I chose to attach the frill directly to the brim of my hood.

Thank You again to everyone involved in the Tudor Project again. Also thank you to Johanna Garcia for allowing me to use a few pictures she took of my in my gown.

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