Costume designed by Ann Curtis for Elizabeth of Valois in Verdi's opera Don Carlos, English National Opera, 1974, worn by Rita Hunter.

Late 16th century Spanish-style costume, in black and gold lurex floral brocade on a lattice ground. The boned bodice is covered with a fine black net, and has full length graduated sleeves, pointed bodice at centre front with pointed peplum. Around the sleeves are rows of gold metal braid; from shoulders to centre front, following the line of the bodice, are vertical rows of gold Russia braid. Down the front are gold textured buttons; around the shoulders and upper bodice are hooks and press studs for the attachment of a cloak. Around the neck is a 'ruff' of wired gold lattice, decorated with gold beads, gold braid, and gold metallic punched tape. The skirt is attached to the bodice by tape bars. The conical skirt has a central line of the same gold buttons as the bodice, to either side of which are side panels, delineated by gold Russia braid laid onto a narrow gold metal braid overlaid onto a broader band of a gold and black floral brocade. The front skirt panel has a siffening of rigilene. Attached to the skirt is a quilted black petticoat, siffened at the hem with rigilene. The bodice is lined with white cotton and the peplum and skirt with black synthetic fabric. The bodice is laced down the back and the skirt fastens with press studs.

The costume was designed by Ann Curtis for Elizabeth of Valois in Verdi's opera Don Carlos for English National Opera in 1974; it was worn by Rita Hunter. Hunter was one of the major opera stars developed by English National Opera in the 1960s, especially acclaimed for her Brunnhilde in the celebrated Ralph Koltai-designed Ring cycle.

Historical costume on stage is never an 'authentic' reproduction; theatre designers adapt historical dress to make it acceptable to a contemporary theatre audience. Thus the fabrics, cut and style of a theatre costume are at once recognisable as historical period and yet bear the signs of the age in which the production is being staged. If the play was produced twenty years before or twenty years later, the costumes would be treated quite differently.
A costume has to 'announce' to the audience the character and often social standing of a character. This costume for Elizabeth of Valois in Verdi's opera Don Carlos has to convey her position as Queen of Spain in the 17th century and a principal character in the opera. The costume makes use of gold lurex which reflects the use of gold in Spanish art and architecture, but, to minimize the dazzle under stage lights, the fabric has been overlaid with a fine black net. But this subduing of the glitter of her position is also a subtle indication of Elisabeth's unhappiness in her position, caught in a loveless political marriage and her love for her step-son, Don Carlos.

S.16-2004