Royal Fabrics: The Politics of Apparel in Tudor England as Reflected in Hilary Mantel’s Wolf Hall Trilogy

Masum Janid¹    & Anjali Daimari^2 
1Research Scholar, Department of English, Gauhati University.
²Professor, Department of English, Gauhati University

^{Rupkatha Journal, Vol. 16, Issue 2, 2024. https://doi.org/10.21659/rupkatha.v16n2.11g
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Abstract:

Costumes played a significant role at the royal courts of King Henry VIII, and courtiers maintained scrupulous cautiousness regarding their presentability and dress. Theatricality is a persistent trope in Mantel’s Neo-Tudor novels, often exercised through strategically displayed extravagant fabrics. This study interprets the clothing culture at the courts of King Henry VIII, as represented in the three Wolf Hall novels. As social classes became increasingly stratified during the Renaissance, the bourgeoisie distinguished themselves from the commoners and sustained inclusivity into the monarchical elite by enacting strategic theatricality. This paper demonstrates how the theatricality of magnificence was performed through the politics of apparel, ornamentation, and distinguished fashion. Referring to works by John Matusiak, Tracy Borman, Maria Hayward, and Elizabeth Currie, this study argues that fashion was at the core of Royal Tudor governance, and Mantel utilises this trope to camouflage or amplify the magnitude of a political persona. In the context of the Tudor Sumptuary Laws, this paper also analyses how Mantel used dress as a motif of theatricality to demonstrate class segregation during sixteenth-century England. The gendering of clothes and its political ramifications shall be another issue tackled by this paper, focusing on the sartorial choices of the characters of Anne Boleyn, Katherine, and Jane Seymour.

Keywords: Fashion, Gender, Tudors, Cromwell, Sumptuary Laws, Virginity, Wolf Hall.