The first meeting of Henry VIII and Anne Boleyn. (From 1835 by Fine Art Images / Heritage Images via Getty Images)
“She was unrivalled in the gracefulness of her attire, and the fertility of her invention in devising new patterns, which were imitated by all the court belles, by whom she was regarded as the glass of fashion”.
-Nicholas Sander on Anne Boleyn in
‘The Rise and Growth of Anglican Schism’, 1573
The iconography associated with Queen Anne Boleyn has become exceedingly prevalent in the popular culture of today. From Highstreet stores to designer brands, Boleyn paraphernalia remains an enduring inspiration and presence within the fashion industry. But what about her influence on fashion during her lifetime?
An Overseas Education
To understand Anne’s relationship with fashion and the impact this had on the English court, one must consider her upbringing. Unlike her predecessor, Katherine of Aragon, Anne was certainly no princess. Nevertheless, being the youngest daughter of prominent courtier, Thomas Boleyn, afforded Anne ubiquitous opportunities.
In 1513, following Thomas Boleyn’s appointment as ambassador to the Low Countries the year prior, Anne was placed in the household of Margaret of Austria, Archduchess of Savoy and Regent of the Low Countries. Here Anne became one of Margaret’s eighteen filles d’honneur (maids of honour), and was first introduced to vibrant and lavish fabrics, courtly dance, languages, and music. Perhaps expounding Anne’s adoration for colour and texture during her later years within the English Court.
Anne certainly made an impression on the Duchess, who wrote of her in high regard to her father, describing her as “bright and pleasant”.
By 1514 Anne was withdrawn from the Archduchess’ care and accompanied Princess Mary Tudor – sister of Henry VIII- to France as her lady in waiting for Mary’s marriage to King Louis XII.
A mere eighty-two days later King Louis XII was dead, and his young widow escorted back to England by the Duke of Suffolk. Anne however, remained in France under the household of Queen Claude for seven years, thus becoming a highly accomplished and impressionable individual within the French court.
For her intelligence, wit, and undeniable charm, Boleyn presented herself as the very finest of ladies and embraced French customs. Here she refined and perfected numerous skills that she had first encountered in the Low Countries.
In France, we see Anne’s relationship with fashion first blossom. Even at such a young age, Anne was known to have exceptional taste. The epitome of elegance and decorum, Anne was praised by countless courtiers such as Pierre de Brantome. With a “gracefulness that rivalled Venus” and being “the most bewitching of all the lady dames of the French court”, it is no surprise that many women attempted to mimic and emulate Anne’s sense of style within the court itself.
The English Court
With her long dark locks, “sallow” skin, and piercingly brown eyes, Anne Boleyn was far from the ‘light and fair’ idealised Tudor beauty, her appearance being “inferior to many”.
Petite in stature, slim in figure, and small breasted, Anne has been subjected to an abundance of unsavoury descriptions throughout the years. Some, such as Nicholas Sander’s depiction of Anne having a “projecting tooth under the upper lip” and “six fingers” on her “right hand”, are certainly more hostile than others. Though it is important to note that Sander was born in 1527 and lived in exile from 1561. During her coronation in 1533, a reporter to the court of Brussels noted that Anne was disfigured by a wart and wore a high ruff to cover swelling around her neck. The validity of these reports is therefore hard to ascertain, and it probable that such writings are simply embellishments of the truth.
In her book The Private Lives of the Tudors, Tracy Borman argues that the fashions of time would have perpetuated Anne’s small chest. Noting that bodices were designed to flatten the cleavage by having fastenings to the side, thus lowering the bust.
Interestingly, in the first biography of Anne written by George Wyatt (grandson of Sir Thomas Wyatt), he noted how “for her behaviour, manners, attire and tongue, she excelled at”. Again, no reference to any remarkable beauty.
Therefore, when making her debut at the English court in 1522, it was arguably her enticing demeanour and continental style which caught the attention of courtiers, and of course, eventually King Henry VIII himself.
As Henry and Anne’s courtship developed and Anne’s influence grew, so did her wardrobe.
Both Henry and Anne shared a deep love for apparel, in particular furs, and Henry would often send an array of lavish gifts to seduce Anne and encourage her to succumb to her carnal desires.
In 1527 Henry overwhelmed Anne with a torrent of gifts including an emerald ring from Beaulieu, bracelets, true lovers knots, in addition to rubies and diamonds, which Anne would later use to adorn her sumptuous gowns and headdresses.
Documents of royal expenses show that in 1529 Henry indulged Anne with crimson satin, cloth of gold, purple velvet, green damask, and furs to trim her gowns. A further £23 was spent on cloth for Anne’s shirts. By 1531 outgoings for Anne’s wardrobe was estimated to be £220. With expenditure rising to £330 in 1532.
When considering the socio-political context of the time, Henry’s choice of fabrics to gift Anne is imperative in understanding how he viewed their relationship. So called ‘Sumptuary Laws’ were enforced throughout England since 1337, allowing the monarch of the time to dictate what types of garments, materials and colours an individual could wear based on their social rank. Henry gifting Anne the most luxurious and luscious fabrics throughout the land further reinforced his intentions of making her Queen.
One of the most notable and intimate gifts from Henry to Anne was a black satin and velvet nightgown lined with fur to help retain warmth. It is believed that Henry VIII commissioned Holbein to sketch Anne donning the gown. Whilst from a modern perspective this request may seem scandalous, it is important to note that a night gown in the Tudor period would have been equivalent to a dressing gown today. Nightgowns were often a comfortable and alternative piece of informal clothing, with the materials frequently imported from Asia. Only those closest to the individual would see them wear it.
Sketch by Hans Holbein the Younger, of a woman in informal dress, attributed to be Queen Anne Boleyn.
This sketch is conjectured to be Anne Boleyn in the aforementioned nightgown. Notice how her face is downcast, giving prominence to her double chin. It has been speculated that the swelling of the chin may have been from a glandular condition. Perhaps giving credence to the account of Anne’s appearance to the court of Brussels during her coronation, where a double chin is also mentioned. Notably, the sitter of the sketch is wearing a collared smock underneath and the gown richly lined with soft fur.
Such finery and distinguished style did not go unnoticed by Katherine of Aragon. The Queen most certainly saw Anne’s sense of fashion as threat and utilised her own wardrobe as a weapon. In 1527, Katherine doubled her expenditure on clothing and replaced her demure, dark, fabrics such as purple and black for more brighter colours and interesting textures. Attempts to ascertain her status as Queen were futile, for Anne’s youthful appearance, slender physique and her impeccable sense of style could not be challenged.
Interestingly, Anne had the quote “this is how it is going to be, however much people grumble” in Latin embroidered onto her household livery. Such act illuminates the importance fashion had on conveying messages and meanings, particularly for those who could not be so outspoken.
Queenship and Fashion Influence
Maintaining outward appearances became increasingly important when Anne finally became Queen. As we know, in Tudor England, clothes were not simply clothes, but contained a plethora of hidden meanings, symbolism and connotations.
During her coronation procession in 1533, Anne wore a French inspired gown, paying homage to her childhood there, in addition to gold coronet and long flowing hair as per custom. Colours included crimson and purple velvet and the dress was lined with ermine fur.
It is believed that her dress was decorated with multiple tongues being pierced with nails. Such depiction and deliberate choice of colour certainly sent a clear meaning to onlookers, particularly those who perceived her to be a usurper Queen.
Interestingly, Spanish ambassador Chapuys reported that Anne and her father had a disagreement regarding the gown. Anne insisted on removing an additional panel of fabric which had been attached to cover her stomach, with the intention to illuminate her pregnancy and thus the sense of hope for the future and stability of the realm associated with it.
Throughout her reign, Anne also ensured that her ladies-in-waiting dressed their part to convey her desired impression. Anne’s ladies were often bedecked in fine jewels and wore scarlet and crimson gowns. Consistency was key.
In posthumous paintings, Anne is seen wearing a French hood. The hood was a distinctly different style from the traditional English or Gable hood, being softer and rounder, set well back on the head and displaying some hair.
Anne has long been associated with attributed to popularising the French hood within England. However, this may be somewhat of a misconception. Whilst we know Anne Boleyn did wear French fashions, and such helped in illuminating her support for the English Reformation. It is important to note that other key figures in English history, such as Mary Tudor, Queen of France, frequently garnished her outfit with the hood. This is most evident in her wedding portrait with her husband, Charles Brandon, Duke of Suffolk in 1516. Notably, Anne was and would remain in France for years to come when this portrait was painted. Furthermore, it is believed that Katherine of Aragon brought French hoods for her only daughter, and future Queen, Mary I.
It was not until 1540 when the French hood truly became a prominent fashion accessory within court and was so often favoured by Queen Kathryn Howard. Additional portraiture shows a 28-year-old Mary Tudor also wearing the French hood.
The only confirmed depiction of Anne from her lifetime is the ‘Moost Happi’ medallion, believed to have been made in celebration of her second child which she sadly miscarried. Intriguingly, Anne is seen wearing a traditional English hood. The motivations behind this are unknown. However, one can surmise that this was to display her loyalty to her country and future of the Tudor dynasty.
‘Moost Happi’ medallion, circa 1534
Anne’s influence on Tudor fashion is therefore hard to ascertain. However, there is no doubt her deliberate choice of fashion was deeply entwined with the overhaul of political and religious reformation associated with Anne at the time. Those who wore similar garb showed their support. So much could be said and perceived, without saying anything at all. Fashion was yet another tool and language Anne was able masterfully construct and use to communicate her intentions, beliefs and decisions. Undeniably, a part of what made her so alluring to so many. Queen Anne Boleyn was and remains a ‘style icon’ in her own right.
References:
Becoming Anne: Connections Culture Court, Owen Emmerson & Kate McCaffrey
Historical Costumes of England: From the Eleventh to the Twentieth Century, Nancy Bradfield
Holbein at the Tudor Court, Kate Heard
In Fine Style: The Art of Tudor and Stuart Fashion, Anna Reynolds
Ladies in Waiting: Women Who Served Anne Boleyn, Sylvia Barbara Soberton
The Life and Death of Anne Boleyn, Eric Ives
The Private Lives of the Tudors, Tracy Borman
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