#ninya mikhaila

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Ninya Mikhaila Historical reconstructions:

“Norman costume made for Raphael Falconry.” (photo 1)

“Late C15th costume made for Raphael Falconry.” (photo 2)

“Norman lady's costume made for Raphael Falconry.” (photo 3)

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Ninya Mikhaila Historical reconstructions:

“Wool flannel waistcoat made for use at the annual recreation of 16th century life at Kentwell Hall in Suffolk (http://www.kentwell.co.uk). The waistcoat was worn by Ninya Mikhaila as a tailor's wife, though it was later modelled by Ninya's sister Jessica and photographed for 'The Tudor Tailor'. Photography by Henrietta Clare.” (working woman’s waistcoat; photos 1,2)

“1560s costume made for use at the annual recreation of 16th century life at Kentwell Hall in Suffolk (http://www.kentwell.co.uk). The costume was worn by Ninya Mikhaila as a tailor's wife, though it was later modelled by Ninya's sister Jessica and photographed for 'The Tudor Tailor'. Consisting of a black worsted gown with velvet guards worn over a tawny broadcloth kirtle with separate slashed wool sleeves and a red worsted petticoat. Photography by Henrietta Clare.” (1560s merchant’s wife; photos 3-6 )

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Ninya Mikhaila (right) and her great great grandfather James Hassan (left). Taken from the About section on Mikhaila’s website. Visit to learn about the Historical Costumer’s family and their long history of professional tailoring and sewing.

Explore her extensive, impressive work: “Ninya Mikhaila is a maker of high quality reconstructions and replicas of historic dress, working to the individual needs of heritage sites, museums and private clients. She is co-author of the best selling book The Tudor Tailor: reconstructing 16th century dress, published by Batsford in 2006 Clients include Historic Royal Palaces, The Royal Armouries, The National Trust, English Heritage, The National Archives, The BBC and Gainsborough's House. Her aim has always been to provide museum quality garments and accessories made to the highest standards. Each item is handmade in appropriate materials with fastenings and trimmings reconstructed to be as close to the originals as possible. Ninya works closely with a range of specialists such as embroiderers, shoemakers, milliners, armourers and silkwomen to ensure that every element is expertly crafted.”

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Ninya Mikhaila Historical reconstructions:

“Gentlewoman's costume made for the annual recreation of Tudor life at Kentwell Hall in Suffolk.” (1569 Lady; photos 1,2)

“This costume was loosely based on the portrait of Mary Fitton, (c1595) at Arbury Hall. It was made for JMD&Co at Hampton Court Palace as part of the events in 2003 to commemorate the death of Elizabeth I in 1603. Photography by Henrietta Clare.” (photos 3, 4)

“This costume was loosely based on the portrait of Mary Rogers, Lady Harington (1592) by Marcus Gheeraerts the younger at Tate Britain. It was first made for JMD&Co at Hampton Court Palace as part of the events in 2003 to commemorate the death of Elizabeth I in 1603 and subsequently worn by Ninya Mikhaila for Tudor Tailor presentations. Photography by Henrietta Clare.” (photos 5,6)

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Ninya Mikhaila Historical reconstructions: “Late fifteenth century arming doublet made from linen lined crimson silk velvet. Made for Dominic Smee to wear beneath the armour made for him to represent Richard III.”

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“Ninya takes a pattern from a jack of plates in the British Museum as part of the research toward the forthcoming book 'Doublets of Defence'”

Ninya Mikhaila is a professional Historical Costumer, with over two decades of experience creating authentic, high quality reconstructions.

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Ninya Mikhaila Historical reconstructions:

  “This costume was loosely based on the portrait of Elizabeth Buxton c1590 at Norwich museum and made for JMD&Co at Hampton Court Palace as part of the events in 2003 to commemorate the death of Elizabeth I in 1603. The gown is made in blue silk damask worn over a petticoat of rose coloured silk taffeta.The stomacher and revers were embroidered using a freehand machine technique. They were then further embellished with spangles. Both both hand and machine embroidery was used in this project. Photography by Henrietta Clare.”