Cosmetics and Scents in the Tudor Era

While much documentation exists on costumes of the Tudor era, from  styles to patterns for creating your own Tudor costumes, relatively little information is available regarding cosmetics or scents from that same period of time. In actuality, the crude cosmetics of the day were just coming back into favor, and some of the ingredients used in Tudor-era cosmetics are now widely known to be toxic. Still, let’s a take a quick look at the history of cosmetics and scents in the Tudor era and share a safe, all-natural scent recipe for Tudor reenactors.

We know with absolute certainty that cosmetics have been used in a wide range of cultures since ancient times as a way to: appear more attractive, for theatrical performance, or even for camouflage. Following the fall of the Roman Empire, however, the use of cosmetics all but disappeared in Europe. Indeed, it was the return of the Crusaders who brought back not only ingredients for cosmetics from other nations, but the desire to see them in use.

Still, early use of cosmetics in late 14th century Europe was still primarily reserved for prostitutes, with the exception of “blanchete” - a wheat flour used to create a whitening effect. Blanchete was commonly used among women who spent much of their time outside and whose exposure to the sun left them with an unsightly tan. The blanchete restored a more reserved, whiter complexion.

In time, however, the use of cosmetics and other adornments, such as scents and hair dyes, began to gain favor among the general populace, particularly in England. Without the rigorous testing that is required in the 21st, though, these crude early cosmetics brought about a well-documented record of dermatological and, in some cases, dental nightmares. This is because early cosmetic formulas often contained lead and/or mercury. As such, authentic Tudor-era cosmetic recipes are, in general, a bad idea for reenactors.

On the other hand, scents from that era were mainly composed of all natural ingredients, including some that, oddly enough, called for ingredients that were apparently readily available at the time, such as: ambergris (an aromatic substance created in the intestine of sperm whales, then later secreted), civet (a yellow, fatty substance submitted from a gland near the genitals of the civet cat), and musk (an oily substance secreted by a gland between the stomach and gentials of a male musk deer). (The Internet sure is great, but it apparently has nothing on the exotic animal byproduct trade of the Middle Ages).

Going under the assumption that you don’t have ready access to those ingredient, below is a recipe for reenactors looking to bring their costumes to life by adding a Tudor-era scent. The ingredients for this formula can all be found at your local organic / health food store.

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Ingredients

1/2 lb. Beeswax

1 tbsp. Almond Oil

1 tsp. Ground Cinnamon

1 tsp. Ground Cloves

1 tsp. Powdered Sandalwood

1/4 tsp. Amber Paste

15 drops of Benzoin Essential Oil

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Tools

- small pot (enameled if possible)

- measuring spoons

- wooden stir stick

- ceramic bowl (or other heat-tolerant bowl) lined with aluminum foil

- sheet of aluminum foil

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Begin by melting the beeswax over a medium heat, being sure to stir it constantly to ensure proper texture. Once the beeswax is completely liquid, reduce the heat, but keep stirring. (IMPORTANT: Do not let the wax or mixture come to a boil at any time.) Now stir in the combination of cinnamon, cloves, and sandalwood until all ingredients are thoroughly mixed into the beeswax liquid. Then stir in the Benzoin and the amber paste. Finally, stir in the almond oil and continue stirring for one more minute.

After all of the ingredients have been mixed, remove from heat and pour the mixture into your foil-lined bowl and let it cool. When the mixture cools, it will begin to thicken again. When it is cool enough to handle, roll it into little balls. (Makes 15 scented balls you can rub on your skin).

In some aspects, it’s really remarkable that so much time and focus was placed on beautification in a time recognized today as being so primitive. Still, for reenactors looking to be as authentic a possible, it’s nice to know that the alchemy of the day is still achievable today … even if some of the ingredients have fallen out of favor.

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Brenda is a costume aficionado. She writes about Halloween Costumes at StarCostumes.com.

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Thanks so much Brenda! I throughly enjoyed your article!

Here’s the link.

After I finished fitting the skirt and sewing to together with the tie on the top to attach it, I began on the bodice. I cut out the basic shape from a pattern I had drafted. I knew this patter worked because I had cut it out previously on some scrap fabric then fitted it together and made adjustments before cutting my real fabric. Though this may take longer, it really saves you from making mistakes on your real fabric (which can sometimes cost quite a bit!). I also cut out the bodice shape on my lining fabric (which was just an off white cotton) and basted/sewed the two together. This helped give the bodice more bulk and fit better.

After the lining and outer fabric were sewn together, I began hand stitching the boning into place. I have already outlined where the bones would go, and how big the should be. This made sure both sides of the bodice were the same.

I then took the two front bodice pieces and began making the eyelets so I could lace the bodice up in the front. Though it is more work because you have to make another cover for your bodice to hide the lacing, I really liked it this way. I was able to get myself into the costume without help from someone else.

To make the eyelits I used a hole puncher (yes, like for paper) and made one hole in the top. I then sewed around it in matching thread and made an eyelit. I strongly recommend you only do one eyelit at a time. If you punch all your holes then sew them in you will have a lot of fraying from the ones you are not working with. The holes can also get bigger and can not match up.

Above: You can see the boning is finished as well as the eyelets. This is the inside of the bodice. The fabric I chose frayed really badly and caused quite a mess so make sure to chose your fabric carefully!

When I finished the eyelets (which took a while) I attached (with pins) the back/side parts of the bodice together, followed by the two front pieces I had been working on. I then tried on the bodice to make sure it was fitting properly. I made a few minor adjustments and then tried it on again.

*Note: The best piece of advice I can give you is to continuously try on your garment. That way if there is a minor adjustment you can catch it early before it becomes a big problem down the road.

Once the bodice fit the way I liked I sewed it together on the machine. I then tried it on again and began to add some detail to it.

Here’s the bodice laced up. I wore the costume with a corset and without a corset. Either way the bodice does very well. I could easily wear it without a corset and get a very similar effect. I have begun to put the hook and eyes on the right side as well as added the beginnings of the sleeves and some trim.

The back of the bodice was simply a single seam down the middle and the attaching seams on the sides. I didn’t put any boning in the back, but did have it peak a small bit in the very center bottom.

Here’s the back of the garment. From now on I am also putting a few bones in the back as well to keep it from bunching when I wear it. The seams weren’t enough to keep it from happening.

Up next: The sleeves!

Well, I finished it! And I think it turned out pretty well, especially for a first try!

I am in the process of gathering all my photos and writing up how I made the costume in detail, so will post that very soon!

I also was surfing the Anne Boleyn Files today and saw that Claire is holding a vote off for the first Anne Boleyn costume (from the Tudors) to be made and sold in the Anne Boleyn store. The options are:

The red promo dress

The blue “apples” dress

The red Pembroke dress

The yellow dress

And the execution dress

I love the last two the best and have been contemplating making a replica of each also (but not to sell, sadly).

If you are interested in voting for, and later buying, any of these dresses follow this link to the Anne Boleyn Files!

Pleating

I began by pleating the skirt on my dress makers doll.

Belt

I then basted the pleats and then basted the “belt” on to the top for wearing.

Temporarily tied

I temporarily tied the belt to make sure it fit and fell properly. I will later attach clasps for wearing.

Coming up next: The Bodice

Bodice

I have basted the outer skirt and most of the under skirt. I have also cut out, boned, and basted the under part of the bodice. It is starting to really take shape! I will upload pictures and post more this afternoon!

Here is another modern interpretation on Tudor clothing. There is a bit on clothing, but also accessories (like shoes and headbands). There are several pictures of a few different looks!

Here’s the link.

(I so want those pants in the second picture! :p)

Here’s the link.

I have read a lot on costumes from this period (1530’s-1540’s is my focus) including The Tudor Tailor and Patterns of Fashion: The Cut and Construction of Clothes for Men and Women 1560-1620. 

I have chosen my material: a golden pattern fabric and a dark red velvet (as an accent). 

Material I am using.

Close up of the material.

I am changing the pattern slightly by not including the large foresleeves.

Jane Seymour. This is an example of the type of dress I will be creating, minus the large foresleeves.

Catherine Parr. Another example of the type of dress I will be creating. I will include the French Hood (shown here) rather than the Gable Hood (shown on Jane Seymour).

I haven’t decided what I am going to replace the foresleeves with yet, either a solid, close fitting sleeve (possible a toned down version of the large foresleeves), or a loose linen sleeve.

I am going to adorn the French Hood and the neckline of the dress with red, pearl, and gold billaments for some sparkle.

Here’s the link to view the pieces, as well as buying and shipping info.