Gable hood trivia: lady Margaret Beaufort’s ‘gable hood’
People mistakenly think that lady Margaret Beaufort wore gable hood. That is technically incorrect. In Tudor times gable hood was called frontlets and bonnet. She has frontlets-but no bonnet, so it is actually not proper gable hood. It’s frontlets with veil(and wimple-part which covers her neck). Netherless studying lady Margaret’s headwear is still worth doing.
Because her ‘gable hood’ is white:
The portrait of Lady Margaret Beaufort by Meynnart Wewyck(done prior to 1521, possibly even during her life, the accuracy of details of outfit would suggest it was done either in her lifetime or shortly after). The details are clearer than on her tomb even.
Why white is better? Because black was the fashionable choice of the time-and that hides all the details, even if paintings of such gable hoods survive or good copy is made. If you look at channels which do historical sewing, sometimes instead of using black fabric to show how something is sewn, they use less dark colourful fabric. Because you often can’t see damn thing! Black hides details.
Hence this cut of lady Margaret’s ‘gable hood’ is goldmine(historical fashion-wise):
One of the details I’d like to make clear straight away. Her frontlets don’t have horrizontal stripes as many movie/tv shows depictions interpretted it based upon inaccurate copies of this portrait. It’s detailing of linnen fabric. Absolutely normal structure of pure linen fabric, when merely laying flat!
There is no frilling to it, no structure etc. Just linen fabric.
Not this:
Nor this:
Problem with this however started already within her grandson’s lifetime.
Horenbout(who never met her)-got it wrong already:
As did many painters after him, but he at least got rest of the details mostly correct.
But back to the first painting.
Note: according to comments, records say that the veil(lyripipe) of Lady Margaret’s headdresss was supposed to reach the floor. In the painting, we can only see it go up to the waist only. Imo both could correct. She could have at one point wear it up to the floor, and at other to the waist, alternatively the veil must have had very weird shape-narrow at top, wide around waist and then getting narrow as it went down(if it was wide even under waist, we should see more of it in the painting).
What is extremely hard to spot is that frontlets and veil are one piece! It’s either sewn together or from single cloth. The frontlets are continuation of the veil, fabric just turned at front-you can see the bend of the fabric, where they turn. They are obviously pinned or sewn to the paste, which at least in this case, is merely forming understructure for the frontlets-and definitely is under whole of frontlets-we can see its edges.
You might think I am talking bull, clearly the frontlets and back part of veil look as if they are separate, But if you look at right, the fabric doesn’t fit the wimple.
It’s instead disappearing under frontlet, and just not pinned to frontlets edge on the right. You can even see where wimple ends beneat it, proving that the linnen was partly see-through, and reason why the frontlets are such strong white is because it is two layers, upon already white paste.
(And by the way on chin you can see that wimple also has at least 2 layers-it was colder back then).
Further more, it is clear there is no paste or bonnet, on back of the head:
Hence paste must end with the frontlets, and most likely what makes rounded shape on back of her head are her hair. She’d be really old when this was painted, and women at those days didn’t cut their hair. It’s possibel her hair would go to the ground, or even be longer than her entire height.
Aparently she wore it on back of her hair, probably in some hairstyle which was once worn under the short henin, or something similiar.
In the painting that part looks pretty voluminous. Probably on younger woman, it’d not stick out that much.
But hair is not only thing important on that section, it is how the veil is folded.
Because if you are interested in Tudor fashion, you can bet you’ve already seen it! On sketch by Holbein.
Only reason why you don’t see it immediately is due to frontlets and volume of hair beneat the fabric. But the veil in both cases is enwrapping entire head, and then it all goes up to top of head and then it is all let down. ¨
It might seem extremely strange to us today, but that is continuation upon medieval headwear:
And these hoods were also often wore with its edgeds by the face, turned backwards, just as lady Margaret’s frontlets are. By the way, women wore these too.
That ‘tail section is called lyripipe. In medieval times, these could be really narrow, on lady Margaret it seems to be considerably wide(maybe bit narrow at top, and getting wider at lower part), on lady of Thomas More’s family, there seems to be no narrowing whatsover. So the style was probably being abadoned.
So this lyripipe variant was remains of medieval fashion, and wimple with veil was also often worn in medieval times, and lady Margaret grew up in times when England was still medieval, even if we consider begining of renaissance in England to be 1485(some think it started only in 1509). So it makes sense that she was holding upon bits of older fashion, she was of old generation.
And perhaps if you’d wish to get inspired by lady Margaret’s outfit, and did not wish to go for old lady, you could go for a nun from tudor times, just leave out the paste, frontlets and frill. All the other elements can stay, as outfits of clergy were also not as quick to change, as normal people’s fashion.
Another thing worth mentioning is that you can see pin just by her frontlet, possibly pinning the fabric of veil(turning into frontlet) to the paste, while frontlet’s upper part is not pinned-at least not visibly(could be sewn together).
And also, with how the fabric turns beneat her hair, it is likely that the veil at back is pinned under the hair, or at back the air, at least slightly.
And this is important in context that we have no depiction of Elizabeth of York wearing the veil that way.
But that is how Catherine of Aragon wore veil of gable hood, early into her queenship. Of course her had no lyripipe, and she had a bonet, but she veil pinned underneath it, same as lady Margaret has the veil pinned under her hair. This tiny detail, suggests that lady Margaret influeced Catherine of Aragon. (and they had good relationship)
It made think, what is the actual difference between lady Margaret’s frontlets and veil and gable hoods we see in 1511:
We know the artist then, didn’t paint the paste, so why the red edges on inner side? Well if the fabric of frontlets was turned continuation of veil, it’d have thicker edge, and might be depicted in that way.
We know the frontlets and veil are shorter, obviously Catherine wore bonet, and on right the lady beside Catherine(probably princess Mary Rose) has big cut between her frontlet and her veil, just as Elizabeth of York did. It’s possible lady Margaret had it as well, the angle just prevents us from seeing that.
But overall the differences are not that big. Obviously lady Margarte’s is simple and plain, and white, while Catherine’s headwear is colourful and decorated, but the basic shape is very similiar.
And I hope, two things you will take from this:
1) you can have frontlets and veil as one piece-sewn together.
2) The bonnet would be done in way it could hold wast amount of hair. And perhaps that is in what our attempts at recreating gable hoods is lacking a bit, and why it often ends not holding that well, we don’t have that much to pin it to.We rarely have such long hair anymore, so if you have the hair tied in ribbon above forehead, it is unlikely you’ll have that much at the back. However, Tudor women, would have still plenty, because they had longer hair. Especially old ladies.
I hope you’ve enjoyed it.
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