Petruchio, in Acts I & II, comes like a strutting peacock to impress a prospective father-in-law and build up the fortune he has depleted. He wears a fashionable outfit from Germany. [Elizabethans joked about how they followed the fashion trends of other countries.]
Nicholas at center here wears a suit described in Janet Arnold's Patterns of Fashion [p 60+]. She dates the outfit around 1565.
The black velvet doublet has gold trim sewn in diagonal stripes. Plunderhose are worn. They fit snugly against the waist and hang down here to knee level. Large puffs of chocolate silk are pulled through, similar to the effect of slops. The prominent codpiece has additional puffing added.
As Petruchio in Act V.ii, Nicholas wears a costume based on a portrait of Robert Dudley, the Earl of Leicester, from the 1560's.
"Sangyn" (dark red) sleeves are attached by ties to the "Isabella" (light buff) doublet under the "wings." Gold cording is sewn around all seams. The chevron designed russet slops are worn over canions. He wears the fashionable codpiece. He has ruffs seen at neck and wrist. At his waist and arms can be seen the picadils which form the visual tabs of the doublet. The dark moss green shoes are slashed as is the doublet. He wears a traditional Elizabethan hat
Kate in Acts I & II wears an Italian inspired dress. Elizabeth I admired Italian fashion, so Italian fashion was popular with the upper class. The portrait of a Venetian lady comes from the 1570's.
The black dress has separate skirt, bodice and sleeves of silk. The puffed sleeves have silk fabric puffed out. A neckerchief, functioning as a partlet, covers her shoulders. A smocked stomacher hides the closure of the bodice. A "cartidge-pleated" voluminous skirt has a modified bumroll base. Her hair is braided and drawn up into a bun at the back.
As Katharina in Act V.ii, Willie wears an outfit based on a portrait thought to be Lady Helena Snakeborg, Marchioness of Northampton by an artist of the British School, 1569. Helena's dress was "orange tawney," but my choice is more a "russet" or dark faded rose.
The undergown may actually be a partlet, sleeves and underskirt which would be more common, or it may be one piece. It has hand-embroidered flowers. The tight bodice is buttoned down the front. She wears a bum-roll farthingale.
- Learn more about the history of the codpiece at Modesty to Majesty: the Codpiece. A Brief History of the Codpiece is amusing but not historically accurate. It does show other examples.
- Learn about Elizabethan makeup at Elizabethan Make-up 101 or The Painted Face: Makeup in SCA period.
- Learn about the colors used in Elizabethan costume in Color in Elizabethan Dress.
- Learn the terms of Elizabethan dress in Dressing for Shakespeare.
- See a modern production of the play at Rich East presents Taming of the Shrew--Texas Style.
Lucentio falls immediately in love with Bianca. Their color schemes, while compatible, never become as in sync as Petruchio and Kate's, suggesting that they never reach more than superficial appearance level.
As Lucentio, Alleyn wears a spotted "popingay green" (blue-green) doublet with slops and matching "marigold" (mustard) silk canions. His codpiece has ribbons with are used to tie it up. His hose are tied up with darker green ribbons.
Early on Lucentio trades his servant Tranio his red velvet cap and green velvet cape with fur collar which indicate his wealth.
Bianca's dress is based on a drawing from Hans Weigel's Book of Costumes, 1577. Labeled "a common artisan's daughter when she goes to dance," the gown consists of partlet, bodice and sleeves, and overgown. The undergown and front decoration are Elizabethan blackwork, which was popular during this period. The fabric, a pale russet or dark peach brocade with grey pattern is based on a portrait of Elizabeth of Austria.
Bianca's final costume consists of a black velvet loose gown which comes from 1570-1580. The gown is shown in Arnold's Patterns of Fashion (109).
The Taming of the Shrew is one of the first plays that Shakespeare wrote, sometime around 1595. The play becomes a speculation on the nature of love. Lucentio falls instantly in love with beautiful Bianca while Petruchio pursues Katharine for her dowry. Petruchio sets out to "tame" the shrew, but in the process he seems to come to more of a mutual understanding about the dual nature of power needed in a functioning relationship. Much debate centers on Kate's final speech which may be intended to be taken sincerely or may indicate Kate's final recognition of her need to temper her actions to win someone she loves. In the taming process, Petruchio "wins" Kate. In Bianca, Lucentio finds that looks may sometimes deceive and a real shrew may only appear after marriage--which was perhaps a common fear among people who found their marriages arranged for them without any consideration of love and relationships.
I have placed the play in the 1570 time period.
The newly revised paper dolls are adapted from the 2004 originals and then redone in 300 dpi using Photoshop SE2 and Corel's Painter IX. Copies of these can be purchased, printed in color and great detail on heavy weight paper. Contact me.
This page was created by C. David Claudon, April 14, 2004. Last update September 15, 2006 .
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