A silkwoman was a woman in medieval, Tudor, and Stuart England who traded in silks and other fine fabrics. [1] [2] London silkwomen held some trading rights independently from their husbands and were exempted from some of the usual customs and laws of coverture. [3] The trade and craft of the silkwoman was encouraged by a statute of Henry VI of England as a countermeasure to imports of silk thread, and a suitable occupation for "young gentlewomen and other apprentices". [4]
In 1421 Alice Corsmaker paid 6s-8d to the Mercer's Company of London to trade as a silkwoman. [5] Alice Bradbridge was recognised as a "sister" of the Worshipful Company of Drapers. [6]
Silkwomen in London manufactured silk thread from raw silk imported from Italy, wove and sold ribbons, braids, cord, girdles, and trimmings, called "narrow ware", [7] and made other silk goods. [8] In the Elizabeth period, silkwomen also provided linen goods including lawn sleeves and partlets. [9]
Emmot Norton and Matilde Dentorte were London silkwomen supplying the wardrobe of Joan of Navarre, queen consort of Henry IV of England with silk thread, cord, gilt silk ribbons or bands, and latten rings and fixings, in 1420, when she was a prisoner at Leeds Castle. Four other women sold cloth for her gowns. [10]
Anne Claver (died 1489) was a silkwoman to Edward IV. [11] She supplied silk thread for sewing or embroidery, ribbons, a mantle of blue silk lace, and wove silk thread into laces and tassels to be applied to bookbindings. She made a silk fringe in yellow, green, red, white, and blue. She may have supplied five counterpoints for covering beds, with imagery, scripture, and verdure, and four "costerings" or wallhangings chequered in red and blue with roses, suns, and crowns. [12] She made tufts of silk to decorate the coronation gloves of Richard III, and buttons for his and Anne Neville's robes. [13]
Cecily Walcot worked on furnishings and decorations for the coronation of Henry VII in October 1485. Walcot provided fringes of gold and silk thread for the royal canopy. Kateryn Champyon alias Claver made ribbons for the king's girdles, and Kateryn Walshe supplied fringes and ribbon, some in the green and white Tudor colours. [14] Agnes Dey or Sey and Alice Claver provided red ribbons. [15] [16]
Elizabeth Langton (whose mother-in-law Jane Langton was also a silkwoman [17] ) , Elizabeth Lock, Jane Lock, Margaret Ashley, and Elizabeth Worssop supplied the royal wardrobe in the years 1498 to 1511. [18] Elizabeth Lock provided black velvet hoods for Lady Catherine Gordon, the widow of Perkin Warbeck, in October 1498 and in March 1499, and a crimson velvet bonnet in 1502, [19] and in November 1498 and April 1499 black velvet bonnets with a gold border and partlets for Lady Anne Percy, one the gentlewomen attending Elizabeth of York. [20] Jane Lock made a crimson velvet bonnet for Catherine Gordon in 1503 and two velvet frontlets. [21] Elizabeth Worssop made gold fringes for hose worn by Henry VII in 1510. [22] in November 1510 Margaret Ashley supplied coloured ribbons and sarcenet silk fabric in several colours for tippets worn by Mary Tudor, then known as the "Princess of Castile". [23]
Joan or Jane Wilkinson provided silks for Anne Boleyn. After Anne Boleyn's arrest, her chaplain William Latymer forwarded books that he had bought for her to Wilkinson. [24] Margaret or Margery Guinet (died 1544), mother of Anne Locke, was a silkwoman to Anne Boleyn, Anne of Cleves, and Catherine Parr, [25] as the wife of Stephen Vaughan (merchant and MP) she known as "Mistress Vaughan". [26] Vaughan recommended her work to Thomas Cromwell, claiming that she had already devised certain works for Anne Boleyn but the they had been forwarded to her. [27] Mistress Vaughan supplied crimson silk fringes for a close stool and tawny satin and ribbon to line a coffer made for the Lady Mary by William Green in August 1537. [28] She provided supplies for saddlery for Anne of Cleves. Catherine Parr did not pay very promptly and her husband pursued the debts. [29] Vaughan's second wife was also called Margery Vaughan. She was the widow of Henry Brinklow. After Stephen Vaughan's death, she married George Rolle (died 1552), and subsequently Leonard Chamberlain. [30]
After the death of Margery Vaughan, Catherine Parr bought from the silkwoman Mistress Anne Shakerley, the wife of the mercer Rowland Shakerley. [31]
Marie Wilkinson was a silkwoman to Mary I of England, [32] and was paid £200 in September 1553 by order of the Privy Council probably for works for Mary's coronation. [33] Wilkinson also made clothes and shoes for Jane Foole, and provided materials to the Queen's French-born embroiderer, Guillaume Brellant or Brallot, (who had come to London from Normandy by May 1524 and worked with the English embroiderers William Ibgrave and Stephen Humble), [34] for a rich litter of black velvet. Mrs Baull or Ball and Mrs Malrye provided "silkwomen's stuff" for saddles. [35] [36]
While Princess Elizabeth was at Hatfield House in 1551, Elizabeth Slannyng brought her velvet and silks. [37] Alice Smythe and Alice Montague served the royal wardrobe and Elizabeth I as queen. [38] Montague supplied "bone lace wrought with silver and spangles" in June 1572 and Mrs Swegoo, perhaps a "tirewoman", worked on head dresses for actors in The Masque of Discord and Peace. [39] [40]
Dorothy Speckard was Elizabeth's silkwoman from 1601. She washed and mended one the queen's favourite riding outfits, a safeguard and jupe embroidered with stars of Venice silver and gold wheat ears. [41] Dorothy Speckard continued to work for Anne of Denmark. [42] Another silkwoman serving Anne of Denmark in London was the French-born Esther or Hester Le Tellier née Granges, who is thought to have been the aunt of the miniature painter David des Granges. [43] She had an annual salary of £20 in 1606. [44]
Alice Montague was paid for hemming and edging Elizabeth's partlets, and starching the queen's sleeves and ruffs. She was paid for blackwork embroidery on the queen's smocks and collars. [45] In 1564, Alice Montague supplied plain Holland linen for the use of Elizabeth's laundry woman or laundress, "24 elles of holland for oure Laundresse to drie our Partelettes'. [46] Montague employed a woman "in altering and translating" the queen's partlets. [47]
According to the chronicle of Edmund Howes, in 1561 Montague gave Elizabeth her first pair of silk stockings as a New Year's Day gift. [48] [49] In 1562, Montague provided a pewter metal doll for Aura Soltana, a Russian girl at Elizabeth's court. The doll was given to Kat Ashley suggesting that she looked after Aura Soltana. [50]
In the 1560s Montague was owed £702 by John Tamworth, a keeper of the Queen's privy purse. Tamworth reimbursed other suppliers and makers including the embroiderers David Smyth and William Middleton, Henry Herne the hosier, Garret Jonson the shoemaker, Raphael Hammond the capper, and paid for gold lace supplied to the tailor Walter Fyshe. [51] [52]
Montague also made and provided lace and fringes for the linings and cushions of the coaches used by Elizabeth. The fabrics were embroidered by David Smyth. [53]
A farthingale is one of several structures used under Western European women's clothing - especially in the 16th and 17th centuries - to support the skirts in the desired shape and to enlarge the lower half of the body. The fashion originated in Spain in the fifteenth century. Farthingales served important social and cultural functions for women in Renaissance Europe as they expressed, primarily when worn by court women, high social position and wealth.
A doublet is a man's snug-fitting jacket that is shaped and fitted to a man's body. The garment was worn in Spain, and spread to the rest of Western Europe, from the late Middle Ages up to the 17th century. Until the end of the 15th century, the doublet was usually worn under another layer of clothing such as a gown, mantle, or houppelande when in public. In the 16th century it was covered by the jerkin. Women started wearing doublets in the 16th century, and these garments later evolved as the corset and stay. The doublet was thigh length, hip length or waist length and worn over the shirt or drawers.
Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
The French hood is a type of woman's headgear that was popular in Western Europe in the 16th century.
Mary Scudamore was a courtier to Elizabeth I.
Jane Foole, also known as Jane The Foole, Jane, The Queen's Fool, "Jeanne le Fol" or "Jane Hir Fole", was an English court fool. She was the fool of queens Catherine Parr and Mary I, and possibly also of Anne Boleyn.
A partlet was a 16th-century fashion accessory. The partlet was a sleeveless garment worn over the neck and shoulders, either worn over a dress or worn to fill in a low neckline.
Lady Audrey Walsingham was an English courtier. She served as Lady of the Bedchamber to queen Elizabeth I of England, and then as Mistress of the Robes to Anne of Denmark from 1603 until 1619.
Dorothy Speckard or Speckart or Spekarde was a courtier, milliner, silkwoman, and worker in the wardrobe of Elizabeth I of England, Anne of Denmark, Prince Henry, and Henrietta Maria. Her husband, Abraham Speckard, was an investor in the Somers Isles Company which colonised Bermuda.
Mary Radcliffe or Ratcliffe (1550-1617) was a courtier of Queen Elizabeth I of England.
Aura Soltana, also known as Ipolitan the Tartarian or Ipolita or Ippolyta, was a Tartar woman at the court of Elizabeth I after arriving from Russia to England, apparently as a slave.
An inventory of the jewels of Mary I of England, known as Princess Mary or the Lady Mary in the years 1542 to 1546, was kept by her lady in waiting Mary Finch. The manuscript is now held by the British Library. It was published by Frederic Madden in 1831. Some pieces are listed twice. Two surviving drawings feature a ribbon with the inscription, "MI LADI PRINSIS". The British Library also has an inventory of the jewels she inherited on coming to the throne in 1553.
Several documents list the jewels of Margaret Tudor, daughter of Henry VII of England and Elizabeth of York. Margaret married James IV of Scotland in 1503.
William Cookesbury or Coksbery, or Cookisbury was a London capper, haberdasher, and supplier of feathers.
Peter Jonson or Johnson and Garret Jonson were London-based shoemakers who worked for Elizabeth I and James VI and I. The records of shoes they made for monarchs and courtiers gives an idea of changing fashions.
Oes or owes were metallic O-shaped rings or eyelets sewn on to clothes and furnishing textiles for decorative effect. Made of gold, silver, or copper, they were used on clothing and furnishing fabrics and were smaller than modern sequins. They were made either from rings of wire or punched out of a sheet of metal.
The coronation of Mary I as Queen of England and Ireland took place at Westminster Abbey, London, on Sunday 1 October 1553. This was the first coronation of a queen regnant in England, a female ruler in her own right. The ceremony was therefore transformed. Ritual and costume were interlinked. Contemporary records insist the proceedings were performed "according to the precedents", but mostly these were provisions made previously for queens consort.
A chamberer was a female attendant of an English queen regnant, queen consort, or princess. There were similar positions in aristocratic households.
Walter Fyshe was a London tailor who worked for Elizabeth I until 1582. He also made some of her farthingales. Fyshe made the queen's ceremonial clothes and coronation robes, altering robes made for the coronation of Mary I of England.
A safeguard or saveguard was a riding garment or overskirt worn by women in the sixteenth and seventeenth centuries. Some safeguards were intended to protect skirts or kirtles worn beneath. Mary Frith, dramatised as the character Moll Cutpurse in The Roaring Girl, wore a black safeguard over breeches.