There are very few surviving examples of Tudor maternity wear being depicted. Some of them hide in plain sight on pretty famous work of art. Others hide in churches around England.
Just little note before I show you: The Tudor tomb brasses are usually impossible to date correctly. Sometimes they were done years prior to person dying, sometimes years after(if family was for example low on money before, and then later on they might have added it later on).Â
But most people donât know about it and think the text which says that person died for example in 1507, that brass depicting the person is also from 1507.
Yet you can see that dress is fashion of Elizabeth Woodville(1470s/maybe 1480s). It can be way off. 20+ years is not an exception.
Sadly, in my opinion the only reason why women would be depicted on their tomb brasses in maternity wear is that they died during or after childbirth(from complications related to childbirth) or that they died pregnant(and the death might have not been childbirth related, accidents do happen, deadly diseases etc).
Here are some pre-1520s maternity clothes from pinterest and later on some c. 1527 maternity clothes:
Labelled as Isabella Giffard 1523(but the fashion of hood and dress with W suggests prior to 1505, itâs early Tudor outfit):
We can establish some basic rules upon it.
1)Tudor women wore their regular clothes as their maternity clothes.
2)Tudor dresses in general were usually front-laced(and cut was going very low for long time, if it wasnt complitely split at front) during Henry VII and Henry VIIIâs reign.
3) The lacing was tied more losely to acomodate growing belly
4)But obviously there had to be other layer unbeaneat where lacing was let âlooseâ.Â
Next example shows different lacing(not zig zag but horizontal):
Labelled on Pinterest as lady in St Peter, North Barningham, Norfolk:
(this style of hood was popular for long: between c.1505 up to mid 1510s(back veil pinned under bonnet), but shortness of frontlets means 100% 1510s)
You have to really focus upon it but she has horizontal lacing on her front(and zig zag on her cuffs), you can also see that she has chemise, then something at front and then ties over it. I think it is additional piece of fabric placed over belly for extra warmth.I coloured it so you get better idea:
Description on pinterest says:âAnne Atte Wode / Wood , second wife of Thomas Asteley with chrysom twins, a boy and a girl âwho after a hazardous birth, departed suddenly to the Lord on the day of St Agatha martyr, in the year of our most bounteous Christ 1512â
The sleeves are indeed fashion of early to mid 1510s, but it is very poorly done depiction of gable hoodâs bonet)
Here part is zig zaged part isnât, but it is possible artist forgot tha one line. I had to colour the gownâs outer edges too, because it wasnât very obvious.
I believe it was up to personal choice, how woman had laced her dress.
Then we have c.1527 example by Hans Holbeins the Younger-portrait of Thomas Moreâs family. Sadly the original has been destroyed and all of the copies(paintings) based upon it have been altered. But these sketches/prints (not by Holbeins) appears to be closest to the original:
There are 3 visibly pregnant women in the sketch.
(Just little note: In 1520s not every gown was front-laced(kind of exception in Henry VIIIâs reign), white band appeared either to cover-side lacing, as decorative piece or to help pin heavy sleeves in place. White band is just mid to late 1520s thing and under-partlet doesnât need to be part of gown. Itâs addon.I will just highlight them, because the are close to neckline and get in way when we count the layers of dress.)
This woman has book under her arm(that is not part of dress), she should be Elizabeth Dauncey, née More:
There is close-up original sketch by Holbein of this woman also(labeled as lady Barkley, but those arenât Holbeinâs own labels but add ons by somebody else), in which book is missing(because for closeup theyâd probably sit still for long and wouldnât hold it entire time):
Sadly you can barely see the maternity dress in it, but knowing it is maternity dress, this closeup allows us to count the layers.
(By the way though it is barely visible behind her neck 2nd veil of gable hood is down there! Hence panic over! It is not 1540s+ hood.)
White band is white, parlet is greyish white, chemise is lilac, darker yellow is kirtle, lighter yellow is additional front piece(probably) and blue represent the lacing(they of course werenât blue).
I am not sure what the piece between kirtle and white band was, but the way Holbein has it sketched (darker grey) it is not a kirtle, probably edge of gown which goes around shoulder.(to which then sleeves were pinned into.)
Actually this one says rot-which means red. So most likely it is a kirtle! Because red was favoured colour for a kirtle. It is probably greyish because the pencil smeared over it. So I was wrong!Â
Itâd look more like this(of course with ties not in blue):
Hence either we have 2 kirtles(one of which we only see gold lining of) or red kirtle has golden lining. Either would be possible, and would probably depend on weather or personal preferences.
The reason why the chemiseâs edges are not straight line is blackwork embroidery, forming tiny triangles in regular intervals.(hence it is really easy to mistaken it for the beaded necklace in this case)
Some other 1st Holbeinâs stay highlighted examples of that detail:
Hence that detail is normal for that timeframe.
Other 2 women: Cecily Heron, nĂ©e More(on left) and Margaret Roper, nĂ©e More(on right). Angle doesnât reveal their pregnancy as obviously.
I could find only closeup on Cecily(and in it she isnât holding her hands over the belly either, because once again itâd be difficult to stay in that position for long)
Cecilyâs sketch reveals something interesting. She has 3 layers under her upper gown.Â
A kirtle(instead of adional front piece of fabric), then white chemise(with that rough looking edge), and then what I first thought another partlet. Â
But if you look closely in HD, Holbein sketched Cecilyâs skintone where partlet would be. It is not a parlet. It is chain/jewelry/string(in purple) and probably 2nd chemise.
Itâs visible on our left, but on right it visible only in upper part, and in lower it is fading away. Unless you know to search for it, never would you see it.
Queen Catherine also had once worn golden chain styled in this way(and no mistaking it for parlet):
Second chemise would be why Cecily doesnât wear aditional front-piece, she added another layer in different way. I coloured it different shade of lilac.
I had to get even better HD version to look if there was this line also on right(that is why it is sketched only). TBH, nearly impossible to spot even though I was searching for that line. It is there, but it is almost invisible.
She also has ties horizontally placed, and additional(stronger) tie and bow both on top(bow tied in this way could mean there were two laces).Â
I thought that there might have been more bows, but upon looking at it closely, I think itâs remains of Holbeinâs first sketch of hands.Itâs hard to spot because upon 2nd tie from up, it looks like remains of her left hand(on our right), while in painting/print ended up her right hand(on our left).Â
And on 3rd tie is also the left hand, and to confuse us further that dark smudge is intentional-itâs ring on left hand. But in final painting due to angle and her holding rosary beads, ring on left hand is not visible, while ring on right hand is visible! (In those days they wore lots of rings).
Margaret Roper née More:
The print is very good, showing many details, but sadly not all are done correctly upon Margaret.
 There is important detail missing on Margaretâs gable hood. In mid to late 1520s, back veils of gable hood could either be both down(as previously in 1520s), or one up and one down(as in 1530s). They cannot be both up. That would be 1540s+(maybe very late 1530s). We know the painting is 1526-1527 and in some other copies 2nd veil is down there.. Hence this is a mistake, engraver forgot the line-which is why I marked red where it should be).
And also, the zig zag lacing is very roughly sketched and not even edges of her gown are properly sketched(hence there is 2 of them on right)
Layers are exactly same as in Elizabethâs case, except she also has the decorative jewels on edge of her kirtle(dark yellow).
Margaret Clement, nĂ©e Giggs(Sir Thomas Moreâs ward/foster daughter) was also in the painting, standing directly next to his father.
But in later paintings, somebody didnât like that she was standing in middle of the family, and put her on side, like an outcast.
But for this change they used, actual sketch of her by Holbein in which she is also pregnant: (yes once again, mislabelled.)
The headwear and dress she is wearing are much simpler, that doesnât mean she was necessarly of lower status and didnât have better clothes, but perhaps that this was more homely outfit.Â
She has appears to be wearing upper parlet decorated with blackwork,
it is pinned dirrectly to outer gown( hence covers the layers). Must have been partly traluscent(probably from sheer linen) because we can make two different layers beneat, sketched differently, probably kirtle and chemise(just simple, not decorated).Â
Another of Holbeinâs sketches also shows maternity dress, though I missed it originally: (that is why the figureâs lower half seems off, and overall posture as well)
I will update this further if I find any more pregnant Tudor depictions.