The Tudors

Ma poi in una serie in cui non si vede mezzo copricapo né gable né French, per non parlare di capelli piastrati, frange di lato e frisè, mi stanno pure a fare pelo e contropelo ai vestiti!

Anche perché in quel mondo lì uno non può fare sempre quello che vuole. Tra poco parlerò anche dei costumi, ma in generale nei compartimenti creativi c'è sempre l'ordine dall'alto del produttore e della rete.

Enrico non è mai ingrassato perché "Jonny", come lo chiamano loro, non voleva né ingrassare né mettersi protesi. Secondo lui l'America non avrebbe mai voluto un protagonista rosso e grasso, e nemmeno ridicolo perché a parer suo la tuta da grasso avrebbe stonato troppo con la sua faccia asciutta

Hirst è un po' pentito dell'overdose di sesso della prima stagione

Tuttavia un fan forse inaspettato era lo storico e biografo John Guy!

Natalie Dormer è un po' partita per la tangenziale dopo aver girato l'execution di Anne XD Hirst racconta che piangeva e diceva "Lei è con me, lei è con me" XD

The 'V' Waist on this dress was probably not used in the early Tudor period, but more towards the late 1550's and more so with the reign of Elizabeth I in her initial years. The square neckline however; is almost accurate to the necklines most gowns would have by 1520's-1530's, but the sleeves are not.


It is very unlikely for a royal or noble lady to wear these thin sleeves, almost attached to her arms with no second fur or detachable sleeves at all. This is known by the painting where fur and trumpet-like sleeves would be used through out the courts of England, France and sometimes Spain, sometimes the fur sleeves would be very round and expanded, such like the sleeves Mary Tudor wore on her wedding gown when she married Charles Brandon, Duke of Suffolk.The gown in it's whole totality is more similar to the initial Elizabethan courtier costume than to the early Tudor Period of the 1520's or 1530's.

For Joan Bergin designing the costumes of THE TUDORS was more than a matter of researching the costumes of the 16th Century. They needed to be reinterpreted. " The thinking behind the costumes was to present a deconstructed Tudor that the clothes wouldn't be purist and odd for a contemporary audience" She says "I wanted the clothes to say to a modern audience: 'how sexy' or 'how magnificent or whatever - not to be strange. So that meant taking the Tudor garments and adding touches that allow you to relate to them in a modern way'.

Bergin Takes most pride from the central role the costumes play in THE TUDORS. "What I've enjoyed most is that the series is very character driven which means I can develop each character through the clothes they wear. So if you're watching it week after week, you should be able to tell how the character has developed from the way they look - have they gone up or down in the social pecking order. Anne Boleyn is the most dramatic example. By the end of the series she's pretty stunning!".