The Tudor Trendsetter: Elizabeth I's Powerful Bows
A recent discussion in the Guardian's letters page has cast a fascinating new light on one of history's most iconic monarchs. Dr Charlotte Potter from Geneva responded to Morwenna Ferrier's article about the modern cultural significance of large bows, drawing a compelling parallel with a celebrated Tudor masterpiece.
Dr Potter, who had just been teaching a seminar on Elizabethan virginity, found immediate resonance with the famous Armada portrait of Queen Elizabeth I. This remarkable painting, which features the three surviving versions displayed together at the Queen's House in Greenwich during 2020, serves as a powerful piece of political propaganda.
More Than Just a Portrait: A Statement of Power
The portrait is an overt celebration of England's naval triumph over the Spanish Armada. The composition leaves no doubt about its message: Spanish ships are shown floundering in the background above Elizabeth's right shoulder, while British vessels sail triumphantly on the left. The queen's hand rests assertively on a globe, symbolising England's expanding global influence and maritime power.
Yet, as Dr Potter astutely observes, this image of raw political and military strength is intricately layered with feminine symbolism. The queen is adorned with numerous pink bows, and a particularly significant large pearl hangs from a delicate white bow at the top of her skirts. This pearl is a recognised symbol of her celebrated virginity, a central pillar of her public image and political identity.
A Fashion Statement Centuries Ahead of Its Time
This analysis presents a fresh perspective on Tudor power dressing. If modern commentators see men wearing bows on the red carpet as an "alpha move," as Dr Potter notes, then Elizabeth I was the original pioneer of this sartorial power play. She masterfully blended symbols of feminine grace with unequivocal demonstrations of sovereign authority.
Elsewhere in the letters section, Chris Walters from Buxton, Derbyshire, added another contemporary connection. He wondered what Esme Young, the judge from The Great British Sewing Bee known for her fondness for bows, would make of the trend. Walters also recalled the practical use of bows in the 1950s for managing unruly hair, highlighting their enduring and versatile appeal.
The collective insight from these correspondents reveals a timeless truth about fashion. The Armada portrait demonstrates that accessories are never merely decorative. For a ruler like Elizabeth I, they were integral components of a sophisticated visual language used to project power, purity, and political invincibility.
