How the Spanish Princess Fucks Up Early Tudor Costume

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We have been all over the Starz TV miniseries adaptation of a Philippa Fucking Gregory book, The Spanish Princess. This production purports to tell the story of Catherine of Aragon, the Spanish princess who married first Arthur, Prince of Wales in 1501 and then Henry VIII, King of England in 1509 — the first decade of the 1500s. We previewed the costumes, did a deep analysis of Catherine’s wedding dress, recapped every episode, and discussed how much the production fucked up the actual history (hint: really, really badly). Well, now we need to turn to an in-depth analysis of the costumes. We’ve looked at the Spanish styles worn by Catherine and her ladies, now we’re going to look at all the English styles.

This time, we turned for expert analysis to Kimiko Small, aka Dame Joan Silvertoppe in the SCA, who has spent years researching early English Tudor costume. She hasn’t been watching the show, but I sent her photos and asked her to weigh in, so I’ll be adding her thoughts throughout.

Yet again, the fact that the timeline is compressed messes things up a bit — Catherine married Arthur in 1501, and Henry in 1509, so we’re generally looking at the first decade of the 1500s. However, sources from this era are scarce, so we’ll consider slightly earlier and slightly later years as well.

The Spanish Princess: The Women’s Costumes

Henry VIII’s youngest sister, Princess Mary, gives us a good overview of women’s very early 16th-century dress. This image is from when she married the King of France in 1514, so just slightly after our focal period. Nonetheless, her fitted yet naturally-curved bodice, wide skirt, and wide sleeves, plus draped and not-too-structured hood on the head touches on all the main stylistic points of 1500s English dress:

Detail from Mary Tudor and Queen Louis XII of France, c. 1514, British Library.

Detail from Mary Tudor and Queen Louis XII of France, c. 1514, British Library.

Now, let’s look at individual characters.

Elizabeth of York

Queen Elizabeth’s costuming annoyed me the least, because they managed to occasionally dress her in vaguely early 1500s clothing — and they got her hair up, even if there wasn’t a hood in sight.

ALL ladies of this era wore “hoods,” or draped head coverings, as you’ll see in every single comparative image.

Elizabeth of York, late 16th c., National Portrait Gallery.

The real Elizabeth of York in 1502, so right smack dab in our target period, shows the kind of mostly-draped hoods popular in this era. Which the TV Elizabeth never wears | Elizabeth of York, late 16th c., National Portrait Gallery.

Kimiko adds: “Starting at the literal top of the head, the older ladies were often well groomed, hair up in braids, or tucked under their headdresses, but Elizabeth of York in a head necklace minimizes her status as queen.”

Despite the princess seam down the front (SO not a 16th-c. approach to dressmaking), I generally liked Elizabeth’s main dress. It’s got a natural bodice silhouette, the sleeves are long, wide, and hanging, and the wide ties at the front can be seen in other images of maternity dress. However, Kimiko says, “The dresses with trumpet sleeves are close. But some, with the cords in front, wear more like a bathrobe, than a proper gown” (note: she might not have realized the character was pregnant).

The Spanish Princess - Elizabeth of York

Detail from Founder’s and benefactors’ book of Tewkesbury abbey, 1550.

Detail of The Family of Thomas More, copy by Lockey of a lost original by Holbein, 1592 (original 1520s-30s).

Period maternity dress — both ladies are pregnant | Detail of The Family of Thomas More, copy by Lockey of a lost original by Holbein, 1592 (original 1520s-30s).

Elizabeth’s mourning dress confuses me. I feel like someone looked at Elizabeth’s funeral effigy and got confused?

The Spanish Princess - Elizabeth of York

The trim lines on the bodice (those angled lines are cords, however) and the cape match. The low neckline and weird satin chemisette, not so much. Also, HOODS PLEASE! | Elizabeth of York’s funeral effigy, early 16th c., via Alamy (sorry about the watermarks, this was the clearest image I could find of Elizabeth’s effigy.)

The Spanish Princess - Elizabeth of York

Also, the waistline shouldn’t be there, and definitely shouldn’t be so high.

Margaret Beaufort

Henry VII’s mother was a mishmash — some things worked, and some were WTFrock.

First, the fact that she almost always wore a hood was a massive bonus. However, most of the time she wore a 30-years-too-early, incorrectly-sticky-uppy French hood of the kind that came into fashion during Anne Boleyn’s time.

The Spanish Princess - Margaret Beaufort

Note that the hood goes BACK, not up. Oh, and comes into fashion in the 1530s | Detail from Anne Boleyn, late 16th-century copy of a lost original of c. 1533-1536, National Portrait Gallery.

She also wears this weird attempt at a Flemish hood, with an overly structured cap and unnecessarily flippy sides:

The Spanish Princess - Margaret Beaufort

Comparative images for what this style SHOULD look like | Mary Tudor or Catherine of Aragon, after Michael Sittow, early 16th c., Kunsthistorisches Museum; Portrait of Catherine of Aragon, after Lucas Horenbout, original c. 1525-26.

Both Kimiko and I were happy with Margaret’s gable hood — this was the one and only piece of female headwear in the entire show that was accurate to the period! But, Kimiko notes, “Margaret Beaufort is wearing an almost suitable Tudor style bonnet with long textured lappets in the front. The extra touch of studs on the headdress begs the question why are we going for a punk theme?

The Spanish Princess - Margaret Beaufort

Elizabeth of York, late 16th c., National Portrait Gallery; Unknown woman, formerly known as Margaret Pole, Countess of Salisbury, c. 1535, National Portrait Gallery.

Margaret’s dresses were also pretty close to period-accurate with their natural torso fit, A-line skirt, and wide, trumpet sleeves — if you lost what I call the “welding apron,” aka their bad attempt at a sideless surcoat. Kimiko explains, “The sideless apron, or is it a surcoat? I can’t see the back to know if there is a back, nor a side, so apron is what I will call it. The waffle fabric apron just looks badly out of place. If it is supposed to have been inspired by the sideless surcoat, a fashion of the 1300s, its many decades out of fashion. By this point, it is used as a marker of a queen in illuminations, usually displayed in furs and jewels, may have been worn by royalty in court functions, but Margaret Beaufort is not a queen, and would not have worn it around the house as a general frock. Either way, aprons just do not belong on Margaret.” She also mentions Margaret’s kicky shrug (far left), “The partlet should not be worn as a Victorian bolero jacket with demi-sleeves.”

The Spanish Princess - Margaret Beaufort

This gown was probably the best, if only because No Welding Apron:

The Spanish Princess - Margaret Beaufort

That’s the real princesses Margaret and Mary from this exact era, by the way | Detail from Presentation page from the Vaux Passional, Peniarth MS 482D, f. 9r., c. 1503-04, National Library of Wales.

Margaret Pole

Poor “Maggie” Pole, mostly lost in WTFrock land.

I don’t remember ever seeing this promo still dress on screen, which is too bad, because it’s the most historically accurate style Margaret Pole wears (despite the sewn-in stomacher):

The Spanish Princess - Margaret Pole

Detail from A tapestry in the Flemish style of Catherine of Aragon and her husband Arthur Tudor, Prince of Wales, early 1500s, via Wikimedia Commons.

The rest? I got nothing.

The Spanish Princess - Margaret Pole

One of these things is not like the other! | Catherine of Aragon, 16th century, Lambeth Palace.

This one is just 100% 1530s (i.e., 20ish years later) Florentine (in no way culturally or geographically near to English fashion):

The Spanish Princess - Margaret Pole

Portrait of a Lady in Green by Bronzino, c. 1528-32, Royal Collection.

And this one? The fabric looks Indian (so, 17th century at the earliest, as that’s when Indian textile imports started reaching England), the cut looks vaguely-Elizabethan (i.e., post-1550s).

The Spanish Princess - Margaret Pole

Compared with two period sources, just to emphasize the WTF-ness | Detail from A Joyfull Medytacvon to All Englande by Stephen Hawes, 1509, Cambridge University Library, depicting Catherine of Aragon (I added the yellow highlight) at her and Henry VIII’s coronation; Unknown woman, formerly known as Margaret Pole, Countess of Salisbury, c. 1535, National Portrait Gallery.

Princess Margaret

POOR PRINCESS MARGARET. She’s either 30 years out-of-fashion, or the Queen of Dumpytown. Kimiko agrees, “But poor Princess Margaret. One outfit, which I think was the Burgundian you mentioned, just made her look dowdy in beige, like her bust had nowhere to go but down and out. The burgundy with oversized green tie-on sleeves made her look like a child.”

This dress is 1460s-70s-ish:

The Spanish Princess - Princess Margaret

Elizabeth Woodville (1437-1492), Queen Consort of Edward IV of England c. 1471, Queen’s College, Cambridge; Maria Portinari by Hans Memling, c. 1470, Metropolitan Museum of Art.

And her range of Dumpy Dresses(TM), compared with actual period sources to once again show just how totally unrelated they are:

The Spanish Princess - Princess Margaret

Detail from Founder’s and benefactors’ book of Tewkesbury abbey, 1550; Detail from Presentation page from the Vaux Passional, Peniarth MS 482D, f. 9r., c. 1503-04, National Library of Wales; Detail from Mary Tudor and Queen Louis XII of France, c. 1514, British Library; Detail from The children of Henry VII, showing Princess Margaret (1489 – 1541), c1498. (Photo by Hulton Archive/Getty Images).

Finally, Kimiko makes me laugh by adding, “Crescent rolls should be enjoyed as food, not sewn on coifs to wear.”

The Spanish Princess - Princess Margaret3

The Spanish Princess: Men’s Costumes

Predictably, we’ve got less to say, just because 1. we’re tired, and 2. boys = zzzzz.

Henry VIII

Kimiko says, “Arthur was the only male I studied. In general he looked acceptable. But the various cosplay leather armor makes me think he’s auditioning for the role of Medieval Green Arrow, complete with unattached arm bracers. It doesn’t improve much when he’s wearing the sleeveless gown that still shows the arm bracers. And somebody get that young man a proper hat! He’s a Prince, not a pauper.

Agreed! Minus the lack-of-hat, Henry looked acceptable when wearing surcoats:

The Spanish Princess - Henry

King Henry VIII c. 1515-20, Anglesey Abbey, Cambridgeshire; Detail from Scene at the death of King Henry VII at Richmond Palace by Sir Thomas Wriothesley, 1509, British Library.

And completely ridiculous when he didn’t:

The Spanish Princess - Henry

Note codflap!

Henry VII

Fine? His hair could have been longer, as could 99% of the men. Props for 1. any hat, and 2. getting the hat style pretty close!

The Spanish Princess - HenryVII

Arthur Prince of Wales c. 1500, Hampton Court Palace; Portrait of Henry VII of England, 1505, National Portrait Gallery.

Prince Arthur

And a final shout-out for the historically-accurate bowl haircut, even if I have my doubts about the layered back.

The Spanish Princess 2019 - Arthur

Arthur, Prince of Wales, c. 1500, Hever Castle.

 

 

Dear god, does this mean I’m done covering The Spanish Princess??!!

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19 Responses

  1. Susan Pola Staples

    The costumes are yuck. I mean how hard is it to schedule an appointment with the Textiles and Costume Department with 1)V&A, 2)Museum of London, stroll around the National Gallery and other museums studying the paintings and portraits?
    Grade for designer F for failed.

    Reply
    • Terézia Marková

      Heck, if they just bothered to do their research on the fucking internet, it would’ve looked better than this!

      Reply
  2. Roxana

    The only possible explanation for getting everything so wrong is They Just Didn’t Care.

    Reply
    • Nzie

      Yeah. It’s hard to avoid the conclusion that for the vast majority of costumes what people actually wore was considered largely irrelevant.

      Reply
  3. roxlet23@gmail.com

    Is it just me, or do many of these costumes look like they were sewn by a middle school home ec class out of super cheap fabrics? Aside from the historical inaccuracies, they look really cheap and poorly made.

    Reply
    • Dara Fargotstein

      One of the cutters, Denise Heywood has a FB page and has some process shots of her stuff (including the finale wedding dress). Her construction looks pretty on point and if I didn’t know they were for something historical they are pretty on their own (though she didn’t design them)

      You can also make good costumes lool shitty with bad styling and boy is this show guilty of that!

      Reply
  4. Nzie

    Poor Princess Margaret especially with that Laura Ashley Does Drapes Burgundian gown. Ugh. And her medieval fantasy look was probably more historically accurate when she was in the Narnia movies (her co-star, Anna Popplewell of Reign, definitely was more historically accurate in Narnia,but then Reign may have actually set the lowest bar).

    Reply
  5. Brandy Loutherback

    Poor Princess Margaret! Poor, Poor Princess Mary! All she got was stupid crushed panne velvet, and don’t get me started on Margaret Pole. Margaret’s outfits were too WTF to be derpy like Princess Margaret. And now a short rant on the names in this PFG-verse: Maggie Pole?, Lizzie?, I don’t Fucking Think So! How fucking hard is it to differentiate them by saying Lady Margaret or Queen Elizabeth! These nicknames suck all the dignity from these characters, not that they deserve any, but still!

    Reply
  6. Terézia Marková

    It’s kind of sad to think what could a good costume designer do if they bothered to make them work with period appropriate designs (at least enough for the general audience). It makes me long for the historically accurate awesomeness of Marie Antoinette (by Sofia Coppola).

    Reply
  7. Roxana

    The early Tudor silhouette is, as we see, very attractive with it’s fitted bodice, square neckline, full skirts and trumpet sleeves. Good tailoring and good fabric is all they need to be quite stunning. But apparently The Spanish Princess couldn’t afford good fabric so they tried to distract with stupid, overdone designs.

    Reply
    • Lady Hermina De Pagan

      They could have done better with judicious editing, slapping hear gear on, and proper use of stays. Also stay away from the decorators fabrics and using wool, linen and more vibrant colors would have helped.

      Reply
  8. Roxana

    And what was with all the neutral prints? I swear ‘Maggie’ looked more like a Bronte sister in some of her costumes than an important 16th c. noblewoman

    Reply
  9. Alexa

    Is it just me or is that high-waisted beige/gold gown of margaret pole’s taken from The white queen set? In which case,, wtf?

    Reply
  10. Patrick Keogh

    I feel like they threw a bunch of colours and weird line patterns on the costumes to distract from the low bling-budget. The Elizabeth mourning gown with yellow and green stripes and Prince Henry’s red like doublet or whatever it’s supposed to be with the arrow-y patterns both look kind of arts and crafts.
    Also, why are all the hats so round? i like whenever they use the period hats but they look rounder than most of the portraits where they are a bit squarer. Correct me if I’ve got a bad impression of what they would look like in real life.

    Reply

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