Introduction
To director Shekhar Kapur and his team of designers and historians, the need to adhere to historically accurate details of what constituted Elizabethan clothes and attire, was certainly a challenge that was well met. The film is set in a period beginning 1585 and portrays the trials of Queen Elizabeth, both personal as well as political. The fact that ace costume designer, Alexandra Byrne won an Oscar for her authentic portrayal of clothes and accessories worn by the various actors in Elizabeth: The Golden Age (2007) is ample proof of the authenticity of the costume designing that was carried out in the film. It would not be inappropriate to mention here that Byrne’s eye for detail brought her an Oscar nomination for the prequel to this film. Whether one is talking about the clothes worn by men or by women, there is no doubt that a great deal of research was painstakingly carried out to achieve the right Elizabethan look.
Historical details of clothing in the Elizabethan era
The women of the Elizabethan era, like most women today, gave all they had to get a near-anorexic waistline that was achieved quite painfully. By exaggerating the entire outline of the attire they wore, the women of the Elizabethan period tried to look as petite as possible. In layers of silk, lace and all sorts of stiffened materials, the body of the person could actually appear to be quite tiny, in fact a lot tinier than it was in reality. The kind of clothes and complexity of the design worn by women in the Elizabethan day exhibited their status in society.
One accessory that was considered quite indispensable was the drum or cartwheel farthingale. This was a round wheel shaped frame that was positioned at the top of the hips and worn below the skirt. The material of the skirt was draped over this frame to fall in soft folds. This ensured that the wearer appeared to have a minuscule waist. The style of the Tudor period was evident in the clothes worn by men and women in the Elizabethan age as well. (Truelove,1999). This was replicated by the clothes worn by the actors in the film. The codpieces worn by men were made to look bulky by filling them up. Also the trunk hose was a man’s costume that ended well above the knees in order to show off the stocking-encased legs of the men who wore them. It was popularly believed that the queen was in favour of men showing their excellent calf muscles, a symbol of strength and virility. One more feature that was an offshoot of the Spanish doublet was the favoured appearance of men in the Elizabethan era. There was a liking among male sex to have a figure that gave them a small paunch. The peasecod silhouette was sought after and the more bejewelled and flashy, it was, the better.
Every single costume worn by Kate Blanchett in the film is a fashion statement that changes with the place and the situation. As the actor who portrays Elizabeth I rightly puts it, “Elizabeth stage-managed her appearance according to what image she needed to portray, and we’ve definite worked that concept into the film.” (The Australian, 2007). For instance, there is a scene in the film where the Queen appears before battle to meet her troops. Her appearance as a militarist is apt: a ramrod straight woman, seated astride a majestic white horse, clad in dated armour, her hair unusually let down (not in the usual coiffure).
There is a lot of similarity between portraits of other members of the monarchy close to the Elizabethan era. The tendency to lay bare the bosom is one that was followed by Elizabeth. The picture on the right is one of Jane Seymour who fancied the square cut gown. A similar gown was worn by Blanchett in the film, as shown on the left.
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A feature common to both sexes
Made from cloth of varying thicknesses and stiffness, ruffles and ruffs were very much in vogue in the Elizabethan era. Women wore them to highlight their long necks and the top of their breasts, while men wore slightly less intricate looking ruffs to give them a stern and erect appearance. Very often, the size of the ruffs made it look like the heads of those who wore them, rested on plates!
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Conclusion
It can be safely said that Kapur, Byrne and the rest of the team have come very close in reproducing the Elizabethan period, not just in terms of locations, but also where costumes are concerned. From the kind of headgear adopted, to the footwear worn, the eye for detail cannot be discounted. Critics are sure to point out a few discrepancies and inconsistencies here and there; however, the efforts made to be as authentic as possible are evident in the appreciation that the film has received worldwide.
References
Truelove, C. Fashion History: Tudor Fashion. 2008. Web.
Safe, G. Golden age of costume. 2007. Web.