Early medieval clothing: a potato sack with a girdle? Not necessarily: here lies an astonishing wealth of fabric, colour & detail.
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.
There are many myths about Puritan clothing, but what's the truth behind the big white collars? Alison explores who they were and what they really wore...
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.
Fashion is a significant area of cultural borrowing. Sarah Lorraine examines the 16th century Venetian appropriation of Turkish dress.
Extant C16th garments are rare, but some tailoring books survive still. Marion explores the German and Austrian tailor's masterbook and the master tailor's exam.
While Spain had knitted sleeves in silk and wool, it seems England had wool sleeves alone. Sarah presents the evidence in preparation for making your own.
Knitted sleeves are one of the less explored items of 16th century knitted clothing, but Sarah will show us how to roll up our sleeves and get started on scoggers.
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.
Do you really need a corset with that 16th century gown? Maybe not. Kimiko explains why... and explores kirtles, bents and bodies to create the perfect silhouette.
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.
There’s more to the Low Countries than the familiar C16th Flemish 'peasant dress'. Holly explores the variations between different classes, trades and regions.
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.
Spanish Renaissance style can be tough to identify. Kate continues her field guide to Hispano-Flemish style by looking at men's fashions in 15th and 16th century Spain.
Dressing a woman involves more than just recreating portraits. One has to know the person underneath - in this case, Frances Brandon, Duchess of Suffolk.
Theories and new ideas on how French Hoods were likely constructed 1530-60, and their evolution afterwards.
Period makeup is probably the most overlooked part in a re-enactors outfit, but Elisa walks us through the process for the mid-17th century.
The popular image of the pirate is very different from the reality of C17th and C18th seamen - and how did that look even come to mean "pirate"? Katherine explains...
The pirate look has been dominated by the media since before Hollywood. Katherine sees what sailors and buccaneers really wore in the Golden Age of Piracy.