English dress in the second half of the sixteenth century has been studied in depth, yet remarkably little has been written on the earlier years, or indeed on male clothing for the whole century. The few studies that do cover these neglected areas have tended to be quite general, focusing upon garments rather than the wearers. As such this present volume fills an important gap by providing a detailed analysis of not only what people wore in Henry's reign, but why. The book describes and analyses dress in England through a variety of documents, including warrants and accounts from Henry's Great Wardrobe and the royal household, contemporary narrative sources, legislation enacted by Parliament, guild regulations, inventories and wills, supported with evidence and observations derived from visual sources and surviving garments. Whilst all these sources are utilised, the main focus of the study is built around the sumptuary legislation, or the four 'Acts of Apparel' passed by Henry between 1509 and 1547. English sumptuary legislation was concerned primarily with male dress, and starting at the top of society with the king and his immediate family, it worked its way down through the social hierarchy, but stopped short of the poor who did not have sufficient disposable income to afford the items under consideration. Certain groups - such as women and the clergy - who were specifically excluded from the legislation, are examined in the second half of the book. Combining the consideration of such primary sources with modern scholarly analysis, this book is invaluable for anyone with an interest in the history of fashion, clothing, and consumption in Tudor society.

An anthology of poems written by forty poets born after 1960.

England, 1509. Henry VII, the first Tudor monarch, is dead; his successor, the seventeen-year-old Henry VIII, offers hope of renewal and reconciliation after the corruption and repression of the last years of his father's reign.The kingdom Henry inherits is not the familiar Tudor England of Protestantism and playwrights. It is still more than two decades away from the English Reformation, and ancient traditions persist: boy bishops, pilgrimages, Corpus Christi pageants, the jewel-decked shrine at Canterbury. So Great a Prince offers a fascinating portrait of a country at a crossroads between two powerful monarchs and between the worlds of the late Middle Ages and the Renaissance. Historian Lauren Johnson tells the story of 1509 not just from the perspective of the young king and his court, but from the point of view of merchants, ploughmen, apprentices, laundresses, and foreign workers. She looks at these early Tudor lives through the rhythms of annual rituals, juxtaposing political events in Westminster and the palaces of southeast England with the religious, agrarian, and social events that punctuated the lives of the people of young Henry VIII's England.

Spurred by an increasingly international and competitive market, the Renaissance saw the development of many new fabrics and the use of highly prized ingredients imported from the New World. In response to a thirst for the new, fashion's pace of change accelerated, the production of garments provided employment for an increasingly significant proportion of the working population, and entrepreneurial artisans began to transform even the most functional garments into fashionable ones. Anxieties concerning vanity and the power of clothing to mask identities heightened fears of fashion's corrupting influence, and heralded the great age of sumptuary legislation intended to police status and gender through dress. Drawing on sources from surviving garments to artworks to moralising pamphlets, this richly illustrated volume presents essays on textiles, production and distribution, the body, belief, gender and sexuality, status, ethnicity, and visual and literary representations to illustrate the diversity and cultural significance of dress and fashion in the period.