Henry’s mistress (Natalie Dormer), who this week takes the throne from Katherine of Aragon (Maria Doyle Kennedy, right), ”really believed she was born the queen,” says Bergin. ”And her jewels had to show that confidence.” To build Anne’s diadem, Bergin attached opal brooches to a crown with pearls — a process she calls ”Tudorizing.”
The king (Jonathan Rhys Meyers) grows into his majesty — and the bling — this season. ”The royals were a glittering orb in people’s lives when they trotted out from the palace,” Bergin observes. His crown is a brass copy made from a portrait of Henry VII, while his agate necklace has a feminine touch: It’s actually a woman’s belt.
A spoiler only if you skipped history class, Anne’s lady-in-waiting (Anita Briem) eventually becomes Henry’s wife No. 3. To emphasize Jane’s simple spirit — which lies at the root of Henry’s attraction — the costumer chose delicate pieces, including the necklace woven into her hair, all rented from Irish designer Helen Fitzpatrick.
When the court adviser (James Frain) becomes the lord chancellor, it shows — down to his brass replica of the Collar of Esses (the Tudor rose in the middle is a nod to his new position). Sir Thomas More (Jeremy Northam) wore the same collar, only giving it back to Henry upon his resignation last week.