Simbolistica costumului elisabetan

Authors

  • Daniela Tufeanu Fries UNATC ”I.L. Caragiale”, Bucharest, Romania Author

DOI:

https://doi.org/10.37130/hjcmnm58

Keywords:

costume, symbolism, clothing, rose, lily, jewelry, pelican, snake, sieve, gloves, portrait

Abstract

The Elizabethan era (1558-1603), under the reign of Queen Elizabeth I, experienced an explosion in both culture through literature and the arts through music, architecture and painting. At the same time, the techniques for making jewelleries and fabrics and their dyeing were developed, an important place being occupied by embroidery and lace. This can be noticed throughout that period in the painted portraits of Elizabeth and her courtiers, but also in the few costume elements that have been preserved to this day, such as Margaret Layton’s jacket, currently in the Victoria and Albert Museum in London, and the dress in the „Rainbow Portrait” at Hampton Court Palace. All the dresses in the Queen’s portraits have motifs either embedded in the fabric, such as pomegranate, or embroidered, such as oak leaf, moon, stars, sun, snake, eyes and ears. Also, pearl  applications that give the costume an unmatched atmosphere but also a symbolism that has not yet been fully deciphered. In addition, the portraits contain objects such as prayer book, crown insignia with sceptre and sphere, Earth globe, sieve and rose, as well as animals such as ermine and birds on the pendants depicting the Phoenix bird and the pelican. From all the symbols above, it follows that Elizabeth I was a wise queen (serpent), of unparalleled power and wealth (Earth globe), pure (ermine and the multitude of pearls), virgin (sieve), rose (the legal successor to the throne) and who sacrificed herself for her people (pelican pendant).

Author Biography

  • Daniela Tufeanu Fries, UNATC ”I.L. Caragiale”, Bucharest, Romania

    ŞDaniela Tufeanu Fries is an artistic coordinator at UNATC „I.L. Caragiale“, scenography section, since 2013. She coordinated costume exhibitons by UNATC students at the „George Ciprian” Theatre Buzău (2018), Metropolis Theatre (2017), House of Students (2016), Shakespeare International Festival Craiova, 9th edition (2014). Since 1998, she has colaborated with Karin Alberti (costume designer), at the „Freilichtspiele Tecklenburg“ Theatre, Germany, for the performances: „Jim Knopf und Lukas der Lokomotivführer“ (director Roland Busch – 1998), „Rocky Horror Picture Show“ (director Ulrich Wiggers – 1998), „Ein Käfig voller Narren“ (director Martin G. Berger – 1999), „Jungle Book“ (directors Jan Altenbockum and Janina Niehus – 1999), „Kleiner Kaiser Ferdinand“ (stage and costumes design, Musiktheater Lupe, Osnabrück, director Peter Henze – 1998). Recently, she was a costume designer for „Dance Lab-choreographic structures”, „Dance Re-Generation”, „Tango Tentation” (Andreea Tănăsescu – 2016), „Una noche de Amor” (Andreea Tănăsescu – 2015) and designed the set for „The Fantastic Adventures of Peer Gynt” (Cristian Lupeș – 2014). Currently she is a doctoral student at UNATC, with a research entitled „Contemporary Perspective on the Elizabethan Costume – Elements of Technology and Design“ under the coordination of Professor Stefania Cenean, PhD.

References

AJMAR-WOLLHEIM, Marta, DENNIS, Flora (2006) At Home in Renaissance Italy, V & A Publication London

ASHEIFORD, Jane (1994) The Visual History of Costume: The Sixteenth Century, Botsford Ltd. London

Brown, Susan (2012) Fashion: the definitive history of costume and style, New York, DK Publishing

RASCHE, Adelheid, HENNESSY, Kathrin (2013) 3000 Jahre Kostüme, Trends, Stile, Designer, Darling Kindersitz, München

LYNN, Eleri (Collections Curator), The Lost Dress of Elizabeth I, hrp.org.uk (accesat 23 februarie 2020)

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Published

2020-06-02

How to Cite

Tufeanu Fries, D. (2020). Simbolistica costumului elisabetan. CONCEPT, 20(1), 236-242. https://doi.org/10.37130/hjcmnm58