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How the design of Capt. Hook's stage costume has evolved over time, an article by fashion historian Lucy Williams, 2023.

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How the design of Capt. Hook's stage costume has evolved over time, an article by fashion historian Lucy Williams, 2023.

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26 March 2023, by Lucy Williams

In light of the new major exhibition, Pirates, at The National Maritime Museum Cornwall, this week's blogpost sees fashion historian, Lucy Williams, explores one of the exhibitions most prominent pieces, a recreation of the first Captain Hook Costume, 1904, made by historical costumier, Ninya Mikalia. In the blog post, Williams explores Edwardian theatrical dress, nineteenth century conceptions of pirates and follows the creation of the costume.

The National Maritime Museum Cornwall's (NMMC) major exhibition, Pirates, opens in March 2023, tracing the evolution of the pirate through art, literature, fashion and film. Real and fictitious pirates jostle with each other, as a wide range of material artefacts have been gathered to demonstrate the impact and versatility of the pirate image. This includes a recreation of the first Captain Hook Costume worn by Gerald Du Maurier in 1904 which has been expertly made by historical costumier Ninya Mikalia. This costume will feature prominently in the exhibition, and it reveals the divide between the designs for the original Captain Hook costume, and the Hook costumes portrayed by modern media.

The image of Captain Hook that is prevalent in modern minds is Disney's Hook, the well-spoken, smartly dressed, counter character to Mr Darling, voiced by Hans Conreid in 1953. Disney holds such media power that their depiction of Captain Hook has dominated the literary landscape to this day. Disney's Hook facially resembles Charles II with black hair and a moustache, whist being toped by an outlandish cavalier hat and ostrich plume, in reddish tones to match a wide skirted justaucorps. This ensemble is a fluid, exaggerated, cartoon rendition of European men's attire in the mid to late seventeenth century. The Justaucorps made as a gentleman's three piece ensemble originated in France and England, when Charles II and Louis XIV began to advance the trend at roughly the same time in the late 1660s. When compared with Barrie's descriptions of Captain Hook, Disney's depiction rings true. Hook 'aped the attire associated with [...] Charles II', and 'was never more sinister than when he was most polite....[as] the elegance of his diction [...] showed him one of a different cast'. [1] By 1991, Dustin Hoffman's portrayal as Hook, in Spielberg's movie of the same name, was much the same variation of Disney's original Captain Hook from 1953, only a live-action version. Hoffman's costume was arguably a more accurate historical interpretation of a justaucorps from the 1690s; a broadcloth heavily embellished with gold brocade trim, lace and layers of buttonholes, mirroring paintings by Jacob Ferdinand Voet. Hoffman's Periwig and heavily shaped eyebrows and moustache fitted the Disney mould, who were no doubt influenced by Boris Karloff's Captain Hook portrayal on Broadway in 1950.

Boris Karloff as Captain Hook from the Broadway play Peter Pan. 1951. Photo by Bender, New York, Public domain, via Wikimedia Commons

However, the original costume designs for Hook were more muted and a far cry from the cartoonish Charles II. In the words of author Daphne Du Maurier, daughter of Gerald Du Maurier, Hook's costume was 'greasy'. William Nicholson, a friend of Peter Pan's author J. M. Barrie, designed the first Hook costume on which the NMMC's recreation is based. This was a fascinating project which explored Edwardian theatrical dress, nineteenth century conceptions of pirates and the creation of a costume lost in history. Nicholson's original illustrations shows Hook in a purply-grey, tired looking coat, edged with gold lace on the skirt and along the buttonholes. There appears to be a sullen white shirt, devoid of lace on the cuffs or a cravat, peeking through the coat. Hook's legs blend into one, as his shoes, stockings and breeches are all black, each in a material with a slight sheen, making his legs look artificial. Many aspects of Nicholson's design were a far cry from current renditions of Captain Hook which are closer to images of Charles II. Nicholson's design was an Edwardian interpretation of early eighteenth century fashions, based upon the coat length, skirt shape, size of the coat cuffs, and shoe proportions, as well as the presence of a tricorn, which was gaining popularity in the early eighteenth-century. Nicholson would have consulted Barrie, who always played Hook with the Llewelyn Davies boys when the tale of Peter Pan was first conceived, and reportedly Barrie insisted that these 'should be real pirates, not Gilbert-and-Sullivan travesties'.[1]

Costume design for Captain Hook by William Nicholson (1872-1949) for the first production of Peter Pan by J.M. Barrie at the Duke of York's Theatre, 1904. Signed and dedicated 'To Audrey' by the original Hook, Gerald Du Maurier ©Victoria and Albert Museum, London

Nicholson's response to this is evident as Hook was a dark gruesome figure, with a small arsenal of weapons on his person, consisting of six pistols, a sword, and his hook shaped into a simple crescent. Yet photographs of actors in Hook's costume during the early twentieth century show that what was originally designed, did not fully translate into the physical costume. Firstly, the original wig was a point of contention for Du Maurier, who considered the straggly Chenille wig chosen for him unbecoming; 'a cross between Charles II and a fourteen-year-old schoolgirl'. [2] Yet the concept behind the wig was snakes, like a male Gorgon, to make Hook as ghoulish as possible. According to his daughter, children as old as fourteen recoiled from 'that ashen face, those blood-red lips [and] the long, dank, greasy curls' of Hook. [3] This is the style of wig to be used in the exhibition, to capture the initial essence of Hook and replicate what was originally worn. Overtime the wig, like the costume, became as pruned as the periwig associated with Hook, suggesting that perhaps current designers agree with Du Maurier, that Hook cannot be both Charles II and a fourteen-year-old schoolgirl, he must go one way or the other.

Robb Harwood as Captain Hook (1907-09). Unknown author, Public domain, via Wikimedia Commons.

Secondly, Nicholson's arsenal of weapons was also modified. In 1907, actor Robb Harwood had one pistol, a lightweight sword (likely wooden) often between his teeth, and a two pronged hook. These weapons formed the basis for those used in the costume for the NMMC, as they reappear in photographic sources as in 1915, when Arthur Wonter played Hook. A two pronged hook was then added for a sense of violence and to enhance Hook's grisly mystique, perhaps to account for the loss of the six pistols. Friz Goodall produced promotional art for the 1907 production, and he depicts Hook brandishing his two pronged hook, dressed in a blue coat with flames of golden embroidery on the pockets and hem. He also conveys Hook's straggly hair, his red sash to match his lips and his grey stockings, aspects that Ninya's costume honours. Goodall likely based his illustration on the finished costume, which means his colour observations informed the colour choices for the NMMC costume as photographs of the physical costume are monochrome.

The NMMC's costume is a rich blue broadcloth edged with golden silk fabric cut into ribbons, and applique gold lace. A cotton shirt (a fabric more in keeping with Edwardian theatrics) peaks through the coat. Lace cuffs partially conceal a two pronged hook, while a red sash holds his sword and pistol, matching the photographic records. The original coat was embroidered along the edges and trimmed with ribbon while the stockings had darned patches to show wear and tear; aspects all worn by subsequent actors as can be seen in comparisons between Harwood (1907) and Wontner (1915), giving us a clearer sense of what the costume was. Great care has been taken to create the many nuances of Hook's first costume, right down to his patched stockings and the unique shape of his tricorn. Overall, the dank, grisly, imposing eighteenth century inspired costume that was first used for Hook morphed into cleaner, more refined pirate 'Charles II', as Barrie's gentleman pirate captured imaginations. Yet the NMMC's rendition of Hook's first costume shows the journey the character has taken, linking the original concept with current perceptions, and the costume is a must see in the Pirate exhibition in Falmouth, opening Friday 31st March 2023.

Ninya Mikalia's Captain Hook costume for the NMMC exhibition 2023. Image credit: Ninya Mikalia

References:

[1] J.M. Barrie, Peter Pan, [1911] (Collins Classics, 2015), P. 47

[2] Neil Rennie, Treasure Neverland: Real and Imaginary Pirates, (Oxford University Press, 2016) Pp. 198 -200.

[3] Neil Rennie, Treasure Neverland: Real and Imaginary Pirates, (Oxford University Press , 2016) Pp. 198 -200.

[4] Daphne Du Maurier, Gerald: A Portrait (London: Victor Gollancz Ltd, 1934) <Https://Archive.Org/Details/Dli.Ernet.525271/Page/109/Mode/2up?Q=Hook> [accessed: 01/03/23]

Lucy Williams is a collections assistant at Mompesson house, a National Trust property. She also worked at the Roman Baths and Longleat. She is a history postgraduate from the University of Southampton, specialising in period costume, and free lances for various museums. Williams project coordinated the Hook costume commission for the National Maritime Museum Cornwall working alongside with Ninya as I wrote reports for the NMMC.

Check out the exhibition here! Running from Friday 31st March to December 2023. And make sure to follow The National Maritime Museum Cornwall on Instagram, Facebook and twitter.

To have a look at what Ninya Mikalia has been working on follow The Tudor tailor on Instagram and Facebook.

The costume society is a passionate and friendly community that celebrates all things dress history related! As well as our blog and grants opportunities, we arrange a variety of exclusive members-only events, like talks and tours, to give our members behind the scenes insight into various historical and contemporary garments. To become a member today click here!

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The costume evolution of Captain Hook: From grisly to suave

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In light of the new major exhibition, Pirates, at The National Maritime Museum Cornwall, this week's blogpost sees fashion historian, Lucy Williams, explores one of the exhibitions most prominent pieces, a recreation of the first Captain Hook Costume, 1904, made by historical costumier, Ninya Mikalia.

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Notes on the History of Pirate Clothing.

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Notes on the History of Pirate Clothing.

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Pirates have gained a reputation for wearing bright and distinctive clothing and accessories during the Golden Age of Piracy (1690-1730) even if, in reality, most of what we think they wore comes from works of fiction like Robert Louis Stevenson's 1883 novel Treasure Island. Pirates were first and foremost seamen and so they wore the clothing typical of all mariners of the period. It is true, though, that some pirates, especially the captains, did dress to impress, and colourful silks or feathered hats were a way to demonstrate success to one's victims and crew alike.

Materials & Colours

There is no evidence that pirates ever wore clothing particularly different from that worn by other 17-18th century mariners when working on a sailing ship. Life at sea was a tough career, and clothing had to be both hard-wearing and practical. Captains and crew often went for more extravagant clothing when ashore, but the daily clothing of pirate crews was typically that taken from other mariners on captured ships.

The historians A. Konstam and D. Rickman give the following summary of common materials for seamen's clothing during the Golden Age of Piracy:

Clothes of hard-wearing linen and wool were the most practical for life at sea. From various sources we know that the woollens sailors favoured included broadcloth, noted for the quality of its finish and colour; kersey, good at keeping out wet and cold; shag, a sturdy cloth that was something like a coarse velvet; Welsh plains, resembling flannel; and 'cotton', an inexpensive woollen cloth that got its name from its fuzzy surface. Fabrics made of actual cotton fibre were at that time expensive imports, though fustian, which wove together cotton and linen yarns, was used for cheap clothing. (21)

In terms of colours, blues, tans, dark greens, whites, and greys predominated. Most clothing was plain, but there were also stripes and chequered patterns, too, and a dash of brighter colours like scarlet and yellow could be added to one's appearance with silk scarves and short sashes.

Coats, Jackets & Shirts

Many pirate captains wore a long coat, typically one taken from a wealthy captive or bought on shore. Captains could afford such items as their share of booty was double that of an ordinary crew member. The fashion on land at the time had men of means wearing coats with an extraordinary array of buttons down the entire length of the front and wide cuffs buttoned back. Bartholomew Roberts (aka 'Black Bart' Roberts, c. 1682-1722) was so famous for a scarlet silk coat and matching damask waistcoat that the French - his principal enemy - called him le jolie rouge ("the pretty red"). Roberts was probably the most successful of all Golden Age pirates, and he showed this fact off by wearing a great gold necklace with a diamond-encrusted cross. Roberts did not just look after himself in the wardrobe department but he also ensured his crew never became too tatty. His ship's articles, which all Roberts' crew were obliged to sign when joining up, stipulated that each man received a "shift of cloaths" from each vessel taken.

Baggy trousers had the advantage they could be easily rolled up when swabbing the decks, climbing rigging, or wading ashore.

Ordinary seamen might wear a short jacket, useful for keeping warm, but with no tails to impede agility or get tangled in rigging, etc. These jackets were made of a heavy blue or grey cloth and were known as 'fearnoughts' as they were worn by seamen who climbed the high masts to reef in sails (hence the later name 'reefer jacket'). The cloth was either wool or hard-wearing fustian. A slightly longer jacket might be worn by pirate 'officers', like the quartermaster and boatswain, which ended at the mid-thigh. Buttons for coats and any other type of clothing were typically made of brass, tin, bone, horn, or disks covered in fabric.

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In heavy weather, a seaman might prefer a much longer and more waterproof long coat made of canvas. The neck was protected from the wind by a neck scarf, additionally useful in Caribbean waters to mop up sweat. Underneath a jacket or coat, mariners wore linen collarless shirts which were pulled over the head. They also wore sleeved and sleeveless waistcoats, which could be one colour, striped, or chequered.

Trousers

Seamen of all kinds were noted for wearing baggy trousers, often with bell-bottoms since this easily used all of the cloth from a bolt of material like serge. Baggy trousers had the advantage they could be easily rolled up when swabbing the decks, climbing rigging, or wading ashore. There were two infamous female pirates: Anne Bonny and Mary Read (d. 1721), and both wore the trousers and shirts typical of male mariners when in battle. Alternatively, short billowing trousers known as 'petticoat breeches' were worn which could be tied at the knee. Leather pockets were often stitched onto trousers. When in colder regions or seasons, woollen stockings of various lengths were worn.

Headgear

Contrary to almost all depictions in all media, pirate captains are not known to have worn tricorne hats, although it is possible that the more gentrified ones did, like the former privateer Captain Kidd (c. 1645-1701) and the former plantation owner Stede Bonnet (d. 1718). Tricorne hats were certainly fashionable for landlubbers, but the large pointed front brim would have obscured one's view when it was always necessary to duck under swinging rigging, tackle blocks, and spars on a ship heaving its way across the sea. A hat with three wide points would also have been a great temptation for a moderate wind to carry off over the horizon. Bartholomew Roberts famously wore a feathered hat, while Blackbeard (aka Edward Teach, d. 1718) was known to wear lit fuses under his hat whenever he went into battle.

As part of the attempt to appear more respectable and successful, some captains wore the wigs that were fashionable amongst the rich gentry in the 17th and 18th centuries. Wigs of the period were expensive to make and so the longer they were, the richer one appeared (hence the still used term 'big wig'). Known for their flair and extravagance, a more gentrified pirate captain might decorate his white or black wig with coloured ribbons tied at the ends. Blackbeard did not wear a wig as far as we know, but he did wear black ribbons tied in his great black beard.

Pirates appear wearing colourful bandanas in many illustrations and films, but there is very little evidence they were ever worn. The word bandana comes from the Hindi word bandhnu which refers to a method of dyeing cloth. Ordinary seamen did sometimes wear a scarf tied around the head leaving the crown exposed to act as a sweatband, in which case, the knot was typically tied at the front and not the back of the head.

Pirates are famous for their gold earrings & eyepatches, neither of which were at all common for mariners to wear.

Seamen of all kinds certainly wore hats, but these were usually reserved for cold weather and were tight-fitting caps made of wool or leather that did not get blown off in high winds. For wet weather, a hat made from canvas might be worn which had been tarred to make it waterproof. A cape of the same material could also be worn in storms. Wet and cold weather clothing ('sloppes') was likely kept as communal ship's stores and handed out to whoever was above deck and on watch at the time. In warmer weather, the most popular hat for keeping off the sun - at least according to some contemporary descriptions - was a light round hat with a very narrow and circular brim.

Accessories

Pirates are famous for their gold earrings and eyepatches, neither of which were at all common for mariners to wear during the Golden Age of Piracy. Although some have claimed that mariners might have worn an earring as a way to keep a bit of gold aside for future use such as for burial if they happened to die ashore (otherwise they were buried at sea at no cost to anyone), in reality, wearing earrings was regarded as effeminate (Elizabethan courtiers seem to have been the only men daring to sport such trifles, and they were often mocked for doing so). Eyepatches may have been worn by some pirates as injuries were not uncommon on a sailing ship when ropes and tackle could swing about dangerously. Another cause of loss of sight in one eye was because some seamen had to frequently stare at the sun over a sighting stick, an instrument used for navigation. However, in the butch world of piracy, showing one's scars was a way for mariners to demonstrate they had long experience at sea, hence, perhaps, the lack of eyepatches in the historical record.

One accessory that many pirates did wear was something tied across the chest to hold things in. A silk sash could be worn across one shoulder which was useful for keeping pistols in. Small pieces of rope (lanyards) were tied to the sash to keep smaller objects from being lost like a folding knife. Pistols might also be attached to the sash with a cord so that, once fired, they could be dropped quickly but not lost while one resorted to one's sword or cutlass. Finally, in colder weather, sailors wore knitted gloves or mittens and round-toed leather shoes tied with a small buckle or latchets (laces).

Dressing up for Shore

Although clothing for daily tasks at sea might have been a bit on the dull side, pirates did dress up when they went ashore, for example, to the pirate havens. More extravagant clothes were easily acquired from wealthy passengers aboard captured ships. Certainly, there are records of ordinary pirate seamen wearing extraordinary clothes at their very last public outing: their execution. About-to-be hanged pirates are recorded as wearing fancy velvet coats and jackets, taffeta breeches, gaily-coloured silk shirts, ribboned stockings, fancy-buckled shoes, and felt tricorne hats. Imagine this lot of flamboyant finery with a pistol or two tucked somewhere and a cutlass at the hip, and one has the perfect image of a pirate out and about and ready to paint the town red.

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Pirate Clothing in the Golden Age of Piracy

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Pirates have gained a reputation for wearing bright and distinctive clothing and accessories during the Golden Age of Piracy (1690-1730) even if, in reality, most of what we think they wore comes from works of fiction like Robert Louis Stevenson's 1883 novel Treasure Island.

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Design for Capt. Hook stageware in first stage production of Peter Pan, William Nicholson, 1904.

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Design for Capt. Hook stageware in first stage production of Peter Pan, William Nicholson, 1904.

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Victoria and Albert Museum: Explore the Collections

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Costume design for Captain Hook by William Nicholson (1872-1949) for the first production of Peter Pan, Duke of York’s Theatre, 1904. | Nicholson, William Newzam Prior (Sir) | V&A Explore The Collections

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Costume design for Captain Hook by William Nicholson (1872-1949) for the first production of Peter Pan by J.M. Barrie at the Duke of York’s Theatre, 1904. Signed and dedicated ‘To Audrey’ by the original Hook, Gerald Du Maurier

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Historic examples of textiles from HMS DeBraak (1795) shipwreck.

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Historic examples of textiles from HMS DeBraak (1795) shipwreck.

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Textiles from General Carlton Shipwreck (1785).

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Textiles from General Carlton Shipwreck (1785).

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The Story of the Wreck of The General Carleton

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The village of Dębki in Poland, long had a myth about a British shipwreck and the survivors who came ashore – although the name of the ship was long forgotten. Dr Michal Wozniewski, intereste…

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Historical Examples of Female Pirates: Grace O’ Malley

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Historical Examples of Female Pirates: Grace O’ Malley

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Grace O'Malley had given birth just hours earlier, but as she stood on the deck of her ship, the fearless pirate queen knew there was no time to rest. A band of other pirates had attacked and boarded her vessel, and she had to lead her crew against them and protect her newborn son. O'Malley grabbed her sword and rallied her men for a counterattack. By the time the fighting was over, she had captured the other pirate ship for herself.

A fascinating description was recorded by Sir Henry Sidney, Lord Deputy of Ireland, who met O'Malley in 1577: "A most famous, feminine sea captain... famous for her stoutness of courage... commanding three galleys and 200 fighting men... This was a most notorious woman in all the coasts of Ireland."

Gráinne Ni Mháille, anglicised to Grace O'Malley, led her own fleet with hundreds of men, spent nearly a lifetime at sea, and came face-to-face with one of the most powerful monarchs of the age, a woman she regarded as an equal.

Who was Grace O'Malley?

Born in around 1530 in County Mayo, in western Ireland, O'Malley was the only daughter of chieftain Dudara O'Malley of the kingdom of Umhall. Ireland had its own distinct legal system known as Brehon Law, in which chieftains were elected instead of the title being passed down by primogeniture (going to the first-born son). The more forceful chieftains used a system of clientship, where they offered protection to the smaller clans in return for service and fealty. Women in Ireland, while far from being treated as equal to men, could inherit and hold lands in their own right and even divorce their husbands. They could not, however, become chieftains.

O'Malley was the exception to this last rule; a woman, according to Grace O'Malley's biographer, Anne Chambers, "who broke the mould"

The O'Malleys were a sea-faring family, who travelled across oceans to trade, taxed for fishing in their waters, occasionally plundered, and controlled coastal castles to protect their lands in western Ireland. As a girl, O'Malley grew up at Belclare Castle and Clare Island, receiving a formal education to the extent that she could speak Latin as fluently as her native Irish. Yet she also grew up on the sea and was determined to follow her family's bearing. When O'Malley was told she could not join her father on a sailing expedition as her long hair would get caught in the ship's ropes, she cut it short and forced him to take her with him.

At 15, O'Malley was married off to Donal O'Flaherty, the heir of a neighbouring chieftain. With him, she had three children - two sons, Owen and Murrough, and a daughter, Margaret - and learned more of seafaring and piracy. When Donal was murdered by members of a rival clan, in 1560, O'Malley took charge of her late husband's lands and ships. The Joyces, the clan believed to be responsible for Donal's death, thought his castle would be open to capture with no one to protect it. What they had not expected was that Donal's widow would lead his men in defence.

It is her leadership at sea that sets Grace O'Malley apart from every other documented female leader in history

O'Malley returned to her father's lands, with those of Donal's men who remained loyal to her, and made Clare Island her stronghold. Starting with three galleys, she embarked on a career of piracy on the high seas.

This is where the legend of the pirate queen was born, explains Chambers: "Enduring danger and hardship by land and especially by sea, O'Malley's maritime skill gave her role as leader a double edge. It took immense skill and courage to ply the dangerous Atlantic Ocean and to withstand the physical hardships of life at sea. It is her leadership at sea that sets Grace O'Malley apart from every other documented female leader in history."

A fierce pirate queen

A fearless leader and also a vengeful warrior, O'Malley did not let any attacks against her go unpunished. When Hugh de Lacy - the man she took as a lover after rescuing him from a shipwreck in 1565 - was killed by the MacMahon clan of Doona Castle, O'Malley took violent retribution. When the MacMahons visited a nearby island, O'Malley was lying in wait with her men and killed all of those involved in de Lacy's death. Her vengeance still not sated, she then defeated the garrison at Doona Castle and claimed it for herself.

By 1566, O'Malley was married again, this time to Richard 'the Iron' Bourke. It's believed that the strategic strength of his castle, Rockfleet, was a motivating factor for the shrewd pirate queen. Bourke, a member of the powerful MacWilliam family, made a perfect political match. The pair entered into a trial marriage - these were common in Ireland and allowed either party to withdraw after a year - and when 12 months had elapsed, O'Malley and her men locked her husband out of Rockfleet and demanded a divorce with the words: "I dismiss you". Despite that, the pair would reconcile and remain together for almost 20 years.

O'Malley had a son by Bourke, named Tibbott (anglicised to Theobold). He was born in 1567, aboard one of O'Malley's ships as Barbary pirates were bearing down. Such was her leadership that the captain pleaded with O'Malley to be seen on deck and rally her men just hours after the birth. Wrapping her son in a blanket, and in some pain, she roared out commands and fired at her enemies before returning to Theobold.

In 1580, and with his wife's help, Bourke became the heir to the chiefdom of MacWilliam. It was around the same time that the English intensified their conquest of Ireland. Elizabeth I 's Lord Deputy of Ireland, Sir Henry Sidney, divided up County Mayo into baronies and demanded that the chieftains submit to English law and accept the arrival of sheriffs in their lands. MacWilliam agreed - but O'Malley knew what this meant for her husband. Under English law, the heir would now be the eldest male relative instead of Bourke. To win over Sidney, O'Malley offered him the services of her fleet. He was duly impressed and Rockfleet maintained a degree of autonomy from English control.

Making new enemies

O'Malley returned to life on the high seas, but a failed attempt to plunder from the Earl of Desmond in Munster ended in her capture and imprisonment. Desmond, who was under suspicion of being part of a plot against Elizabeth, handed O'Malley to the English to gain favour. She was held in the dungeons of Dublin Castle until early 1579 when she secured her release - the details of how remain a mystery. O'Malley responded by attacking English ships and routing the army sent to besiege her castle.

When the chief of MacWilliam died in 1580, Bourke and O'Malley went into rebellion to exert their right to succeed. They mustered a huge army, including the elite Scottish mercenaries called the Gallowglass, and forced a deal to grant Bourke the title. O'Malley, considered by many to be the real power behind her husband, became Lady Bourke and remained a woman to be feared. One story says she threatened an English tax collector and sent him running even after Bourke had agreed to pay.

But O'Malley's position would not last long, as her husband died in 1583. Finding herself a widow again, she took what she was owed of her husband's property and one of his castles in lieu of her dowry, and established herself with her army and ships at Rockfleet. Her ability to lead and command respect was evident in the number of who men followed her.

"When Gaelic law spurned her as a female chieftain, O'Malley ignored the political and social obstacles placed in her path..." says Chambers. "Such was her influence and power that she became an accepted matriarch, not merely to her own followers, but of neighbouring clans, whose own chieftains had either died or abandoned their obligations to protect their followers."

The English, however, wished to put O'Malley in her place. Sir Richard Bingham, who was made governor of Connaught in 1584, became a lifelong enemy of O'Malley and her family, claiming that she was "nurse to all rebellions in the province for this forty years". In 1586, O'Malley's eldest son, Owen, was killed by Bingham's brother; when a heartbroken O'Malley led a force against Bingham, she was lured into a trap and captured. At the age of 56, she was condemned to death, before her son- in-law, Richard, managed to persuade the English that he was not part of any rebellion and would keep O'Malley in his custody.

A royal appointment

In reality, once freed, both rejoined the rebels. In 1587, O'Malley took advantage of Bingham being sent away to visit his rival, the new Lord Deputy of Dublin, Sir John Perrot, who pardoned her for all her past offences, as well as those of her children. The official line now was that O'Malley would retire to live a quiet life and stop her plundering at sea. This was far from the truth.

In the summer of 1588, Bingham returned to Ireland amid fears that the Spanish Armada would find Irish supporters. Skirmishes between his forces and O'Malley's continued for several years until he destroyed part of her fleet of galleys in the early 1590s.

Not one to admit defeat, O'Malley bypassed Bingham and appealed directly to his boss. Her first of many letters to Queen Elizabeth I show a mind as Machiavellian and sophisticated as that of Elizabeth and her court.

In the letter, O'Malley sets out her own version of events, which, as she writes, "constrayned her to take up armes", laying the blame squarely at Bingham.

In retaliation, Bingham captured her son, Theobold, and accused him of treason - a crime punishable by death. To save the life of her son, O'Malley followed her correspondence to the royal court, and - with the assistance of her friend, the influential Earl of Ormond - managed to get an audience with Elizabeth in Greenwich in July 1593.

Yet, staring across the chamber at the queen, she was not intimidated - instead, defiant and determined. Both women were the same age, and both queens in O'Malley's eyes. Elizabeth wore an exquisite dress, wig and make-up, while O'Malley let her age show. It was clear she was no ordinary woman. As the queen could not speak Irish, they resorted to a language they both knew.

Chambers elaborates: "Tradition holds that Elizabeth and O'Malley conversed in Latin, however, both from her correspondence and the reports of those who came into contact with her, it is obvious that O'Malley both understood and spoke English."

Kindred spirits

Elizabeth was in awe of this woman - a fellow female leader in a male-dominated world - and took pity on O'Malley. The queen allowed her to return to 'maintenance by land and sea' - an authorised form of piracy allowing O'Malley to recover her losses - and called for Theobold's release. Such was the impression made on Elizabeth that when a new map of Ireland was drawn, O'Malley was named as chieftain of Mayo.

O'Malley continued leading her men at sea until well into her sixties, but a new century brought great change. The battle of Kinsale in 1602 put an end to rebellion and left Ireland to fall into English hands, and the Gaelic way of life O'Malley and her ancestors had lived by crumbled.

In 1603, O'Malley died at Rockfleet, the same year as Elizabeth. O'Malley's story is not widely known; her legacy has survived through the folktales and songs of Ireland. "Grace O'Malley did not conform to the patriotic, God-fearing and dutiful image of Gaelic womanhood promoted by later generations of Irish historians and was consequently airbrushed," concludes Chambers.
Emma Slattery Williams is the staff writer on BBC History Revealed magazine. Anne Chambers is the author of Grace O'Malley: The Biography of Ireland's Pirate Queen 1530-1603

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Grace O'Malley: the fearless pirate queen of Ireland

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Grace O'Malley had given birth just hours earlier, but as she stood on the deck of her ship, the fearless pirate queen knew there was no time to rest. A band of other pirates had attacked and boarded her vessel, and she had to lead her crew against them and protect her newborn son.

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F.D. Bedford’s Illustration of Captain Hook for ‘Peter and Wendy’ (1911) Novel

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F.D. Bedford’s Illustration of Captain Hook for ‘Peter and Wendy’ (1911) Novel

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Captain Hook’s Hook: Its Most Likely Inspiration–And His Nemesis Crocodile’s Too!

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Here’s a brief look at what I consider the mostly likely origin, or more correctly, inspiration, for J. M. Barrie’s eponymous villain’s most notable feature–his hook, not to…

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Captain Hook Costume from Hook (1991) Movie

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Captain Hook Costume from Hook (1991) Movie

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Dustin Hoffman as Captain James Hook (from the movie, ″Hook″ 1991) | James hook, Captain hook, Captain hook costume

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Dustin Hoffman as Captain James Hook (from the movie, ″Hook″ 1991)

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Captain Hook Costume from Peter Pan (2003) Movie

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Captain Hook Costume from Peter Pan (2003) Movie

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Pin by Nanami on • Crush | Jason isaacs, Captain hook, Peter pan movie

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Naval Cutlasses - an Overview - Naval Historical Society of Australia

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By John McGrath This article is a complement to that on officers’ swords which appeared in the March 2018 issue of the Naval Historical Review. Like that article, it does

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Fashion Design by Euroco Designs for Chappell Roan

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Fashion Design by Euroco Designs for Chappell Roan

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Costume Design by Ellis Flyte for Labyrinth (1986) Movie

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Costume Design by Ellis Flyte for Labyrinth (1986) Movie

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Pin by Евгения Жердель on Лабиринт 1986 | Labyrinth, Goblin king, Goblin

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Costume Design for ‘Swan Lake’ Ballet (1997) by Lez Brotherstone

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Costume Design for ‘Swan Lake’ Ballet (1997) by Lez Brotherstone

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Пин от пользователя Bonnie-Grace Macklin на доске Digital Art References | Балет, Иллюстрации

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Автор пина:Bonnie-Grace Macklin. Находите и прикалывайте свои пины в Pinterest!

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Pin by Noémie Bommottet on Burlesque | World of wearable art, Crab costume, Crab outfit

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A history of pirate fashion, materials and the false grandiose pirates curated. A video essay by Nicole Rudolph.

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A history of pirate fashion, materials and the false grandiose pirates curated. A video essay by Nicole Rudolph.

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Most common materials for clothing was wool and linen (ocasionally cotton was also used) due to it being better suited for shiplife.

The flamboyant hats with feathers that pirates are depicted with are not historically accurate. Closest in resemblance was the tricorn hats, worn on land for show.

Alternatively, knit caps and wide brimmed caps were the choice of headwear.

Pirates rarely wore bucket boots, instead worked barefoot on deck for better grip and swimming mobility. Buckle shoes were used on land.

Sailor slops or breeches were common legwear.

Linen shirts somtimes worn with waistcoasts when cold. Short jackets (fearnoughts). Neckerchiefs.

Fancier clothing reserved for captains that were stolen such as knee-length coats with pulled back cuffs and buttons.

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What did Pirates ACTUALLY Wear? Fashion at Sea in the 18th c & Our Flag Means Death Costumes

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Costume Design for ‘The Rose of Versailles’ Stage Production

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Costume Design for ‘The Rose of Versailles’ Stage Production

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Pin by Farbe on ilustraciones y referencias | Figure poses, Human poses reference, Cool poses

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Pin by Livvi K on Family pings | Quentin blake, Quentin blake illustrations, Illustrators

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quentin blake style drawing | Quentin blake, Book illustration design, Drawings

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Examples of how anthropomorphism is used as a tool for social commentary: Beastars Video Essay

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Examples of how anthropomorphism is used as a tool for social commentary: Beastars Video Essay

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Quentin Blake!! | Book art, Quentin blake illustrations, Quentin blake

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kfp_52-redux.JPG | Kung fu panda, Kung fu, Character design

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Jeremie Noyer speaks with John Stevenson and Mark Osborne, the directors of DreamWorks Animation’s new slice of awesomeness, Kung Fu Panda!

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-Considering making Captain Hook a drag king, like the emphasised brows, moustache and facial structure

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Illustration from Spiderwick Chronicles conectp art

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Illustration from Spiderwick Chronicles conectp art

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Elf | Spiderwick Chronicles Wiki | Fandom | Mythical creatures art, Spiderwick chronicles, Spiderwick

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Pin by Krista Heij-Barber on Animal Expressions in 2025 | Kung fu panda, Creature design, Character design

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Deltarune is inherently gender critical and utilises gender tropes for intentional subversion. How is this achieved?

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Deltarune is inherently gender critical and utilises gender tropes for intentional subversion. How is this achieved?

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“The Girl”, The Knight, & Gender In Deltarune - An Analysis/Theory

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A Product Of Its Time: D.E.A.R. Peter Pan 1953

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Maude Adams and the LGBTQ History of Peter Pan

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-The diversity in shape language and silhouette is very inspiring

-Love the wings on the fairy, looks like stain glass

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fablog: Robin Hood, Mischief in Sherwood.3.Tuck | Character design, Character design animation, Character concept

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Pin by Nathan Russe on Animal - Character Design | Cartoon character design, Game character design, Character illustration

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Feb 12, 2025 - This Pin was discovered by OsiArt 1212. Discover (and save!) your own Pins on Pinterest

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Pin by Mellow Ren on character design | Character design animation, Character design, Illustration character design

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Illustrated book on Drag Culture by Hall et Al (2020)

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Illustrated book on Drag Culture by Hall et Al (2020)

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Lights. Glamour. Action! Take a peek into the cultural phenomenon that is Drag, in this lusciously illustrated guide to the history of the phenomenon, from ancient theatre to the queens…

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PRAI en X: "Cat soldier with lobster gauntlet #characterdesign https://t.co/H7Ycf2z7aN" / X | Fond d'ecran dessin, Dessin esquisse, Art conceptuel personnages

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PRAI en X: "Cat soldier with lobster gauntlet #characterdesign https://t.co/H7Ycf2z7aN" / X

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Pin on Amazing Drawing Art/DigitalArtist

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Oct 12, 2025 - This Pin was discovered by Brianna 2. Discover (and save!) your own Pins on Pinterest

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-Really enjoy the posing in this illustration

-Possible reference for illustrating a conflict between Peter and Hook?

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-The composition feels like a movie poster and the way the characters have been composed is really exciting

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Pin by iris on illutration | Risograph print, Riso print, Illustration art

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Out Of Step Arts Guest Artist - Natalie Andrewson

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Illustration and comics of Natalie Andrewson

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Yvan Duque on Instagram: “Des recherches préliminaires d’environnement et de personnages pour le tome 1 de @ultralazer_la_bd . Je ne travaille quasiment que à … | Personnages, Artwork, Instagram

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6,227 likes, 53 comments - yvanduque on March 13, 2019: “Des recherches préliminaires d’environnement et de personnages pour le tome 1 de @ultralazer_l...”

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-The composition is fun, I think the posing of these characters marching together could be good reference for illustrating the Lost Boys

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Artist Collaboration: An Interview with Maud Bihan / @maud_bihan | Inspiration | Mossery

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“Strokes of pixie dust, painted in glimmering gold — bringing to life fluttering wings as magic unfolds; Galloping through the night is a girl on her trusty steed, illuminating the sky with bubbling dreams; Venture into heavenly realms, where you will find enchanting mysteries alongside magical friends.” Hail

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-Using different panel layouts for expressions could be fun

-Especially like how the illustration shows how the deer character perceives the other character

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Pin by netunian on meshi in 2025 | Dungeon anime, Dungeon, Character art

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-The combination of textures and 3D paper collage is visually striking

-Possible way to iterate on my sketchbook practice

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Costume Design by Antoine Kruk for ‘ Le Crazy Horse de Paris’ Cabaret

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Costume Design by Antoine Kruk for ‘ Le Crazy Horse de Paris’ Cabaret

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The Ya-te-veo is a Famous Carnivorous Tree found in South America with a more famous African cousin. In J. W. Buel’s Land and Sea (1887), the Ya-te-veo (“I-see-you-already”) plant is said to catch and consume large insects, but also attempts to consume humans. The Ya-te-veo is said to be a carnivorous plant that grows in parts of Central and South America with cousins in Africa and on the shores of the Indian Ocean. There are many different descriptions of the plant, but most reports say it…

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Outfit Inspiration Young Donna from ‘Mamma Mia! Here We Go Again’ (2018) Movie

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Outfit Inspiration Young Donna from ‘Mamma Mia! Here We Go Again’ (2018) Movie

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- Like this as an alternative to the typical Edwardian dress

-A more practical outfit for movement while still being feminine

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EXCLUSIVE: Here are the Mamma Mia! Here We Go Again costumes (and we want them all)

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All your 70s style inspo in one quick clip…

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-Possible way to develop Tinker Bell's design outside of the sketchbook

-Using split pins to try different character posing for character sheets?

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"There are fairies at the bottom of our garden," announces the opening line of a poem by Rose Fyleman first published in 1917. Coincidentally, that was also the year two intelligent and talented young conspirators managed to convince some very well-known people that there really were fairies living near Cottingley Beck, the stream that ran past the foot of their garden.

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-Second sight is the ability to see fairies and hidden realities beyond normal human perception

-It is usually gained accidentally or innately, often through contact with fairies (fairy ointment)

-Fairies resent the ability and remove it by blinding, making second sight a dangerous burden

-Could be interesting to explore a fairy surveillance idea

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Illustration from Spiderwick Chronicles conectp art

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Illustration from Spiderwick Chronicles conectp art

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Sprite | Illustrations, Art féérique, Fée

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Sprites are creatures mentioned in Arthur Spiderwick’s Field Guide to the Fantastical World Around You. Dazzling in colour and about the size of large insects, sprites have glistening membranous wings. In fact, they are often confused with exotic insects or flowers at first glance. Considered by…

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Illustration from Spiderwick Chronicles conectp art

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Illustration from Spiderwick Chronicles conectp art

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Care and Feeding of Sprites | Spiderwick, Mythical creatures art, Spiderwick chronicles

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Care and Feeding of Sprites is a book written by Holly Black and illustrated by Tony DiTerlizzi accompaning The Spiderwick Chronicles and Arthur Spiderwick’s Field Guide to the Fantastical World Around You. As the name suggests, the book’s subject is how to keep a Sprite as a pet. Many would…

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Lost Boys from a Peter Pan Stage Production

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Lost Boys from a Peter Pan Stage Production

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Pin by ACT-1 Academy for Children’s T on Peter Pan - LOST BOYS | Lost boys peter pan, Peter pan jr, Peter pan

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Costume Design for "The Cunning Little Vixen" from Finnish National Opera, designed by Klaus Haapaniemi

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Costume Design for "The Cunning Little Vixen" from Finnish National Opera, designed by Klaus Haapaniemi

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Pin by Luana Mendes on Ropa pintada | Fantasy clothing, Cool costumes, Costumes

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Inspiration for Lost Boys outfit from ‘The Nutcracker’ Ballet Production

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Inspiration for Lost Boys outfit from ‘The Nutcracker’ Ballet Production

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Pin by 허미현 on 디자인스터디용 참고자료 | Concept art characters, Character design inspiration, Character design

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Faun Tribe Inspiration from ‘The Chronicles of Narnia: The Lion, the Witch and the Wardrobe’ (2005) Movie

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Faun Tribe Inspiration from ‘The Chronicles of Narnia: The Lion, the Witch and the Wardrobe’ (2005) Movie

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Pin di Luisa Oliveira su Menções Honrosas | Idee

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29 lug 2025 - Questo Pin è stato scoperto da Luisa Oliveira. Scopri (e salva) i tuoi Pin su Pinterest.

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Faun Tribe Inspiration from ‘Pan’s Labyrinth’ (2006) Movie 

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Faun Tribe Inspiration from ‘Pan’s Labyrinth’ (2006) Movie 

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Pin de Sonja Larouge en [Fantasy]Med-fan | Disfraz de fauno, Laberintos, Efectos especiales maquillaje

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Faun Tribe Inspiration Artifact found near St Germans, Cornwall

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Faun Tribe Inspiration Artifact found near St Germans, Cornwall

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Pin by beyhan on detail | Ancient art, Sculpture art, Art reference

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Mermaid/Siren Inspiration from The Enchanted Island Pasticcio Opera (2011)

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Mermaid/Siren Inspiration from The Enchanted Island Pasticcio Opera (2011)

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Pin by Mah on Bag | Enchanted island, Mermaid art, Opera

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Mermaid/Siren Inspiration from ‘Voyage of the Unicorn’ (2001) Movie

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Mermaid/Siren Inspiration from ‘Voyage of the Unicorn’ (2001) Movie

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Pin by 🌀Angel Fragoso🌀 ⭐⭐⭐⭐⭐⭐⭐ on Fantasy World AG71🌀 | Film inspiration, Character design inspiration, Character inspiration

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Illustration from Spiderwick Chronicles concept art

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Illustration from Spiderwick Chronicles concept art

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Merfolk | Картины с русалками, Сказочные существа, Мифологические существа