There's life in that old dress yet. Julia shows how she remade an old early C16th gown into a new Elizabethan one for her daughter.
Having explored the Elizabethan Royal Wardrobe, and met Walter Fysche's wife, we now look into how and why she might have dressed.
Walter Fyshe was tailor to the Tudor Queen Elizabeth I. Julia looks into his life and work in the C16th via an exploration of the Queen's Wardrobe.
Building on her investigations into the evolution of women’s clothing in the sixteenth century, Julia now looks at the male wardrobe in the Tudor and Elizabethan periods.
We've seen the Tudor wardrobe of Frances Brandon, Duchess of Suffolk, take shape and now we join her in the bedchamber as she dresses in the finished clothes.
Frances' Tudor hoods and hair are her crowning glory. Julia shows us how she created the classic Marian style hood and frontispiece of the mid-16th century.
The more things change, the more they stay the same. Julia investigates the evolution of 16th century women's clothing, and the ramifications for Tudor costumers.
We return to the Tudor wardrobe of Frances Brandon, Duchess of Suffolk, this week to look at her outer layers – the iconic French gown and typically Marian partlet.
A C16th lady of Frances' status must be properly turned out. Julia continues to investigate her Tudor noblewoman's wardrobe with Frances' kirtle and foresleeves.
Previously we explored Frances’ body linens as we began to piece together her Tudor noblewoman's wardrobe. This month we investigate more of her undies...
Julia continues her discovery of Frances Brandon, Duchess of Suffolk and her mid-16th century wardrobe, and walks us through the creation of her linens, smocks and underwear.
Dressing a woman involves more than just recreating portraits. One has to know the person underneath - in this case, Frances Brandon, Duchess of Suffolk.
In the final poignant installment, Julia brings Mrs. Gainsborough and her daughter home to the Georgian artist's historic Suffolk base, to show the complete outfits in all their glory.
We are now tantalisingly close to finally meeting Mrs Gainsborough in her complete C18th ensemble. Julia describes the making of her silk Robe a l'Anglaise.
After a brief diversion last month to Gainsborough’s daughters, we return to Mrs Gainsborough’s own Georgian wardrobe and explore her 18th century underwear.
Some of Gainsborough’s loveliest paintings are the relaxed, informal and intimate portraits of his two daughters. Julia walks us through the process of dressing them.
Working from the skin up for Mrs Gainsborough's 18th century ensemble, Julia takes us through building her stays - the key to the classic Georgian silhouette.
The first part of a series which will dress Mrs Gainsborough, wife of painter Thomas Gainsborough, from the bottom up. Here, Julia introduces us to her subject.
Finally, Mrs. Pretty's 1915 velvet-trimmed ensemble is complete with her classic teens tailored skirt and jacket, and spectacular hat.