Fashion and Self-Fashioning: Queenly Sartorial Bodies in England and France, 1486-1603

历史上，皇室女性使用服饰的方式多种多样：权力体现在视觉文化中，通过展示物质财富和礼仪仪式来展示，而各种服装控制则试图保持一种宫廷优越感。但更深入地挖掘幸存的来源就会发现，皇后时尚不仅仅是维持现状。通过她的服装身材--由时尚形成的一种社会皮肤，能够在社会、地点和性别之间不可预测地移动--女王可以利用服装在她不能说出的地方说出自己的话；这种类型的时尚宣言在今天仍然具有很强的针对性(Crane，2012)。这种跨文化探索使用了文本和材料来源来研究1486年至1603年过渡时期英国和法国的女王服装。对这些王室女性的着装和物质消费的调查，可以揭示出大量的信息：关于服装、关于王后身份，以及关于每一位女性寻求被感知的个人。随着公众对古装剧和时代作品的欣赏继续占据主导地位，女王风格声明对他们在当代文化描述中的服装声誉和表现的明显影响也将被探索。尽管当代公众有切实的兴趣，但对历史女王时尚的学术探索令人惊讶地稀少。仅在2018年，大都会艺术博物馆的天体：时尚和天主教想象力展览就打破了所有纪录，同时有数千人报名完成历史悠久的皇家宫殿的虚拟课程--皇家时尚史。单是这些数字就表明了对王室服装文化的持续学术和合作研究的价值，因为英国君主制及其全球同行的形成继续令人着迷：因此，“时尚的轻浮并不一定否认其历史重要性”(Gibbons，2012)。

Dress was historically used by royal women in a myriad of ways: power manifested itself in visual culturethrough the display of material opulence and ceremonial ritual, whilst various clothing controls sought tomaintain a sense of courtly superiority. But delving deeper into surviving sources reveals that queenlyfashion did more than simply uphold the status quo. Through her sartorial body - a social skin, formed byfashion and able to move unpredictably through societies, places and genders - a queen could deployclothing to speak out where she could not; a type of style statement that remains every bit as pertinenttoday (Crane, 2012).This cross-cultural exploration uses both textual and material sources to consider queenly clothing inEngland and France, during the transitional period of 1486-1603. Investigation of the style and materialconsumption of these royal women, each living through wholly unique social and political circumstances,can expose a wealth of information: about clothing, about queenship, and about how each individualwoman sought to be perceived. The discernible implications of queenly style statements for their sartorialreputations and representations in contemporary cultural depictions will also be explored, as publicappreciation for costume dramas and period pieces continues to reign supreme.Scholarly explorations of historic queenly fashion are surprisingly scarce, despite tangible contemporarypublic interest. In 2018 alone, the Metropolitan Museum of Art's Heavenly Bodies: Fashion and the CatholicImagination exhibition broke all records, whilst thousands signed up to complete A History of RoyalFashion, Historic Royal Palaces' virtual course. These figures alone are demonstrative of the value ofcontinued academic and collaborative research into royal clothing culture, as the fashioning of the Britishmonarchy and its global counterparts continues to fascinate: thus 'the frivolity of fashion does notnecessarily deny its historical importance' (Gibbons, 2012).