with John Kuhn
Faith there’s a dozen of ’em, with delicate fine hats and most courteous feathers, which bow the head and nod at every man. – Alls Well That Ends Well (IV.5)
Shakespeare’s plays often referenced fashion and feathers, including one memorable line in All’s Well That Ends Well about “most courteous feathers, which bow the head and nod at every man.” But these flamboyant plumes were more than just stylish—feathered costumes in early modern England carried with them deep histories of global trade, Indigenous craftsmanship, and colonial storytelling. This week, Dr. John Kuhn joins us to explore the materials, methods, and meanings behind the feathered costumes seen on the early modern stage, revealing how these theatrical elements were tied to artistic labor, conquest, and the shaping of cultural identity.
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Summary
In this episode, Dr. John Kuhn walks us through the surprising world of feathered costumes on the English stage during Shakespeare’s lifetime. From Aztec tribute garments and Tupi feather capes to ostrich-plumed hats and Restoration drama, we uncover how feathers became symbols of masculinity, colonial fantasy, and elite spectacle in early modern England. Dr. Kuhn shares the labor and cultural knowledge embedded in these materials, revealing the global journeys feathers took—and how English audiences consumed them as both fashion and performance.
Key Takeaways
- Featherwork was imported into England from Indigenous artisans, especially in Central and South America.
- The Aztec amanteca were a class of elite feather artisans; their work included both sacred and elite garments.
- Some feathers, like quetzal and scarlet ibis, were so valuable they were considered a form of tribute or currency.
- England’s stage costumes were influenced by European interpretations of Indigenous dress, not direct contact.
- Feathered stage costumes appear in early 17th-century masques, but not notably in Shakespeare’s own plays.
- Archival sources like The Memorable Masque provide evidence of elaborate feathered costumes and payment records.
- Indigenous-made feather items are now being repatriated to South America, shedding light on the colonial pathways of costume.
About Today’s Guest
Dr. John Kuhn is Associate Professor of English at Binghamton University. His work explores early modern literature, theater history, and material culture. His recent article, “Inimitable Rarities?: Feather Costumes, Indigenous Artistic Labour and Early Modern English Theatre History”, investigates the ways indigenous-made featherwork was used and represented on the English stage, and how these costumes were tied to colonial supply chains and global trade.
Resources Our Guest Recommends
- John Kuhn, “Inimitable Rarities?” [Link to article if available]
- Alessandra Russo, The Untranslatable Image
- Ulinka Rublack, “Befeathering the European”
- Alison Caplan, “The Living Feather: Tonalli in Nahua Featherwork Production”
- Stephan Hanss and Ulinka Rublack, “Knowledge Production, Image Networks…”
- Amy Buono on Tupi feather capes
Relevant Links
- Mass of St. Gregory, Feather Mosaic (Met Museum)
- BBC Report on Tupi Capes Repatriation
- John Kuhn’s Faculty Page at Binghamton
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