(© Unknown Artist – The National Portrait Gallery)
Elizabeth of York, daughter of King Edward IV and Elizabeth Woodville, was a pivotal figure in English history, playing a significant role in uniting the houses of York and Lancaster after years of civil war. Born in 1466, she became queen consort to Henry VII following their marriage in 1486, thus solidifying the Tudor dynasty's claim to the throne. As the mother of Henry VIII and grandmother of Elizabeth I, Elizabeth of York’s legacy extended well beyond her reign, influencing both the political landscape and cultural trends of the Tudor era.
Tudor fashion during Elizabeth’s time was a reflection of the era's political stability and the growing influence of Renaissance ideals. As queen consort, Elizabeth set the standard for courtly attire, and her personal style influenced the wardrobes of noblewomen across England. Women’s fashion in this period focused on creating a structured, regal silhouette, symbolizing both status and propriety. Bodices were tightly fitted to emphasize the upper body, often enhanced with square necklines that framed the neck and collarbone. These were paired with voluminous skirts, achieved through the use of kirtles and farthingales, which created a dramatic bell shape, making the wearer appear grand and imposing. The materials used in Elizabeth's gowns were crucial markers of her royal status. Velvet, silk, and damask were favorites among the nobility, often imported from Italy and France, where fashion trends were also influencing English tastes. These fabrics were richly adorned with gold and silver thread, pearls, and jewels. The embroidery on gowns often featured floral motifs, religious symbols, and heraldic emblems, signaling both piety and political allegiance. Sleeves were another focal point of Tudor fashion, often detachable and heavily ornamented, making them a versatile element of the wardrobe. Headwear, too, was a key part of Tudor women’s fashion. Elizabeth of York was known to wear the gable hood, a headdress shaped like the roof of a house, which framed the face and covered the hair in accordance with modesty norms. This iconic style became synonymous with the early Tudor period, influencing fashion throughout her reign and beyond. Through her clothing choices, Elizabeth of York set the tone for Tudor court fashion, representing both the opulence of the royal family and the shifting cultural trends of Renaissance Europe.
This blog post will discuss key depictions of Elizabeth of York in art, with a key focus on her fashion choices – for fun!
In the portrait of Elizabeth of York from the National Portrait Gallery, we see a powerful representation of early Tudor fashion that reflects her royal status and political significance. Every detail in this depiction—from her choice of headwear to the colour of her gown and the intricate jewellery she wears—speaks to her identity as queen consort and the ideals of the time.
Headwear: The Gable Hood
One of the most distinctive elements of Elizabeth's fashion in this portrait is her headwear: the gable hood. This iconic piece of Tudor attire is shaped like the gable of a house (hence the name), with angular lines framing the face, giving it a regal, architectural appearance. The gable hood was a preferred choice among the aristocracy, particularly in England, as it conveyed modesty, power, and adherence to tradition. For Elizabeth of York, the gable hood emphasizes her role as a queen rooted in English identity, distinct from the French hood, which became popular later in her son Henry VIII's reign. The hood in this portrait is richly adorned, with black fabric trimmed in gold embroidery. This decoration is symbolic not just of wealth but also of royalty, as gold was commonly used in royal garments to signify status. The heavy, structured appearance of the hood suggests dignity and seriousness, qualities expected of a queen consort. The gable hood also serves a practical purpose, covering the hair entirely, as modesty and propriety were highly valued in this era for women, particularly those in positions of power.
Colour of Dress: Red and Gold
Elizabeth is shown wearing a deep red gown trimmed with gold, a choice that holds considerable significance. Red was a colour closely associated with royalty and wealth due to the expense of the dyes required to produce such a rich hue. It symbolized power, authority, and sometimes even martyrdom, connecting Elizabeth not only to her role as queen but also to her heritage as a descendant of both the Plantagenet and Lancastrian lines. By wearing red, Elizabeth reflects her role in uniting two warring factions, the houses of York and Lancaster, after the Wars of the Roses through her marriage to Henry VII. The red gown visually embodies the strength and unity that her marriage brought to the new Tudor dynasty. The gold trimming further accentuates her status. Gold thread was highly prized in clothing and was often used to signify royalty or the upper echelons of society. The intricate gold detailing on Elizabeth's dress not only enhances the richness of her attire but also symbolizes the wealth and stability that the Tudor reign sought to project after the turbulent civil wars.
Jewellery: Necklace and Rings
Elizabeth’s jewellery in this portrait also carries deep symbolic meaning. Around her neck, she wears a pendant necklace featuring a red stone (possibly a ruby) set in gold. The use of a red stone reinforces the themes of power and unity associated with the colour red, while the pendant’s prominent placement above her bust suggests the importance of her role as queen consort and mother of the Tudor line. Jewellery was often used to communicate wealth and status, and the inclusion of such an ornate piece emphasizes Elizabeth's key position in the monarchy.
She also holds a white rose in her hands, an important symbol of the House of York. This was the emblem of her paternal family, and by holding it, Elizabeth visually asserts her Yorkist heritage. However, it’s important to note that her union with Henry VII, who was a Lancastrian, led to the creation of the Tudor rose, a combination of the red rose of Lancaster and the white rose of York. Thus, the white rose in this portrait signifies her dual role as both a symbol of the Yorkist legacy and a unifier through the Tudor dynasty.
Additionally, Elizabeth wears several rings on her fingers, another display of wealth and status. Rings were often used to demonstrate allegiance, marriage, and political ties, and in this portrait, they could symbolize her marriage to Henry VII, which was instrumental in ending the Wars of the Roses and establishing the Tudor dynasty. The rings, like her necklace and gown, underscore her importance as a queen and mother to the future Tudor rulers.
(© Hans Holbein – Hampton Court Palace)
In the Whitehall Mural, a posthumous depiction of the Tudor dynasty, Elizabeth of York is presented in a full-length portrayal—a rare occurrence in Tudor portraiture. Unlike many contemporary portraits, which focused primarily on the head and shoulders (such as those created by Hans Holbein and Lucas Horenbout), this mural gives us a detailed, complete view of Elizabeth’s attire, offering insights into Tudor fashion during her era. Although the mural was painted after her death, it captures the opulence and grandeur of the period’s clothing, particularly in a formal setting. The mural, originally designed by Holbein but completed by other artists, highlights the Tudor lineage with Henry VII, Henry VIII, and their respective queens.
Gable Hood and Modesty
Elizabeth of York is depicted in a gable hood, similar to her other portraits, including the one from the National Portrait Gallery. This headdress, shaped like the gable of a house, was a staple of early Tudor fashion. It framed the face in a triangular shape, covering the hair in keeping with the era’s emphasis on modesty and propriety. The gable hood was especially favored by the English aristocracy, distinguishing the fashion in England from the French court, which later popularized the French hood during the reign of Anne Boleyn.
Elizabeth’s gable hood is heavily embroidered with gold, once again emphasizing her status as a queen consort. The adornments on the hood reflect both wealth and the sacred duty of queenship, as gold was a material reserved for the highest ranks of society. The use of the gable hood in this mural also evokes a sense of continuity in Tudor fashion, as it remained a key aspect of formal attire for women of the court well into the reign of her son, Henry VIII.
Full-Length Gown: Sumptuously Adorned and Structured
One of the standout features of the mural is the rare, full-length depiction of Elizabeth’s gown, which reveals much more detail about Tudor women's fashion than typical portraits allow. Elizabeth’s dress is rich in colour, most likely gold or a deep burgundy, colours synonymous with royalty and power. The gown is adorned with gold embroidery, and the heavy, structured appearance of the skirt is achieved through layers of fabric and possibly a farthingale, a garment worn beneath the dress to provide shape and volume. The gown has wide, draped sleeves that taper toward the wrists, a common feature in early Tudor fashion. These large, open sleeves serve as a canvas for further embellishment, often lined with contrasting fabric and decorated with embroidery or jewels. This choice of voluminous, heavily decorated sleeves not only reflects the wealth and status of the wearer but also serves a practical function by enhancing the overall grandeur and formality of the appearance.
The depiction of Elizabeth in a full-length gown offers a rare glimpse into the grandeur of Tudor formal dress, especially for women. The voluminous skirt and draped sleeves were carefully designed to project power and authority. The garment’s rich fabric, likely silk or velvet, would have been imported and incredibly expensive, reinforcing the notion that the Tudor monarchy was wealthy, powerful, and well-connected with European trade networks. The full-length portrayal here is significant because it allows for a more comprehensive understanding of Tudor women’s fashion than head-and-shoulder portraits typically do. Most Tudor-era portraits focus on the bust, limiting how much detail can be conveyed about clothing styles. This mural, however, provides a rare opportunity to examine the entirety of a queen’s outfit, from her headdress to her gown and accessories. It offers a more complete image of how Elizabeth would have appeared in a formal setting, giving a sense of the grandeur and imposing nature of Tudor court fashion.
Jewellery: Display of Royal Authority
In addition to her ornate gown and hood, Elizabeth of York wears jewellery that further emphasizes her royal status. In keeping with Tudor customs, jewellery was a key symbol of wealth and rank. While the details of the jewellery may be more stylized in the mural, it is likely that Elizabeth, like other queens of her time, would have worn pearls, gold, and precious gemstones—symbols of purity, wealth, and divine authority. In this mural, Elizabeth's necklace and rings are important details, symbolizing her connection to both the Yorkist and Lancastrian lines, and to the new Tudor dynasty. The use of pearls or other stones that decorate her neck and possibly her hands also reflects the importance of women’s jewellery as a public statement. Queens were expected to dress in a manner that signified their importance, not just in relation to their husbands, but also as individuals who represented the continuity of the monarchy.
Elizabeth of York serves as a prime exemplar of early Tudor fashion, embodying the wealth, power, and symbolism central to royal attire. Her use of the gable hood, rich fabrics like velvet and silk, and opulent gold embroidery reflects both her status and the ideals of modesty and grandeur in the period. Her clothing choices, including the striking red and gold of her gowns, communicated her role in uniting the Yorkist and Lancastrian lines, establishing the Tudor dynasty. Through Elizabeth’s wardrobe, we gain insight into how fashion was used as a political tool in early Tudor England.
Resources:
Weir, Alison. Elizabeth of York: A Tudor Queen and Her World. New York: Ballantine Books, 2013.
Starkey, David. Six Wives: The Queens of Henry VIII. New York: HarperCollins, 2003.
Ashelford, Jane. The Visual History of Costume: The Tudors. London: Batsford, 1988.
Hayward, Maria. Dress at the Court of King Henry VIII. Leeds: Maney Publishing, 2007.
Hearn, Karen. Dynasty: The Royal House of Tudor, 1485–1603. London: Tate Publishing, 1995.
Arnold, Janet. Patterns of Fashion: The Cut and Construction of Clothes for Men and Women c.1560-1620. London: Macmillan, 1985.
Hoskuldsson, Karen Margrethe. From Hennin to Hood: An Analysis of the Evolution of the English Hood Compared to the Evolution of the French Hood. University of Copenhagen, 2012.
National Portrait Gallery, London. Portrait of Elizabeth of York, NPG 2082.
Hampton Court Palace. The Whitehall Mural.
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