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

历史上，皇家女性以多种方式使用服装：权力通过物质财富和礼仪仪式的展示在视觉文化中表现出来，而各种服装控制则试图保持宫廷优越感。但深入研究现存的资料可以发现，queenlyfashion不仅仅是维持现状。通过她的服装身体--一个由时尚形成的社会皮肤，能够在社会、地方和性别之间不可预测地移动--女王可以在她不能说话的地方穿上衣服; a type类型of style风格statement声明that remains保持every一切bit位as proportional相关today今天（起重机，2012）。这种跨文化的探索使用文本和材料来源，考虑女王的服装在英国和法国，1486-1603年的过渡时期。对这些皇家女性的风格和物质消费进行调查，每个人都生活在完全独特的社会和政治环境中，可以揭示大量信息：关于服装，关于女王身份，以及每个女人如何寻求被感知。我们还将探讨女王风格对她们的服装声誉和在当代文化中的代表性的明显影响，因为公众对古装剧和古装作品的欣赏仍然占据主导地位。尽管当代公众对女王时尚有着切实的兴趣，但对历史上的女王时尚的学术探索却出奇地少。仅在2018年，大都会艺术博物馆的《天体：时尚》和《天主教想象》展览就打破了所有记录，同时有数千人报名参加了历史悠久的皇家宫殿的虚拟课程《皇家时尚史》。这些数字本身就证明了对皇家服装文化进行持续的学术和合作研究的价值，因为英国君主制及其全球同行的时尚仍然令人着迷：因此“时尚的独特性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).