REVIEW OF EXHIBITIONIn Fine Style: The Art of Tudor and Stuart Fashion (London, The Queen’sGallery, Buckingham Palace, 10 May–6 October 2013). Catalogue In Fine Style:The Art of Tudor and Stuart Fashion, ed. Anna Reynolds. London: Royal Collec-tion Trust, 2013. 300 pp. illus., over 320 colour. £45.00. ISBN: 978-1905686445(hb).‘In Fine Style: The Art of Tudor and Stuart Fashion’, described as the Royal Collec-tion’s first exhibition of royal fashion, presented the visitor with an impressive numberof Tudor and Stuart portraits, most of which were drawn from the Queen’s Collection.Over sixty pictures, some very well known and others less so, were used to exploreclothing worn by the English monarchy and nobility between 1485 and 1714. Thevirtue of selecting paintings spanning approximately 230 years of English and thenBritish history, ranging from Henry VII to Queen Anne, made it possible to focussharply on how royal fashions changed over a significant period of time. And thesewere turbulent times that saw the rise and fall of two royal houses, queens regnant aswell as kings, a minority, a regicide, and the Restoration. Against this context, maleclothing evolved from the doublet and hose worn with a long gown (favoured by HenryVII), to being accompanied by a short, semi-circular cloak worn nonchalantly on oneshoulder (by the reign of James I), to the coat, vest and breeches. This forerunner tothe modern three-piece suit was introduced by Charles II and became really estab-lished under William III. By contrast, female attire saw fewer major changes. Women’sclothing was dominated by the gown although the cut of the bodice and sleeves and theprofile of the skirt changed quite dramatically, and by the late seventeenth century ithad evolved into the mantua.The significance of dress as a means of asserting royal authority was quite rightlypresented in the exhibition as the