By . Ruth Styles . PUBLISHED: . 09:20 EST, 6 May 2013 . | . UPDATED: . 09:20 EST, 6 May 2013 . He's famous for his ravishingly modernist work but designer Gareth Pugh has revealed that his inspiration is firmly rooted in the past. And while the Tudor monarchs that so fascinate him might not have had pinstripe suits and ties, they were, says Pugh, the world's first power dressers. Just as designers in the 1980s used shoulder pads to give the illusion of broad shoulders and size, so Elizabeth I and her father Henry VIII used triangular-shaped garments to create a 'silhouette of power', Pugh points out. Scroll down for video . Back to the future: Designer Gareth Pugh with designs inspired by the Tudor and Stuart periods . Power dressing: Pugh's Elizabethan style ruffs and armour inspired designs on the catwalk in Paris . 'Their [clothes] are definitely devices of subliminal power,’ Pugh says. ‘I’m very much taken by the idea of the Tudors being the first power dressers – that idea of using clothes for more purpose than just clothing oneself. '[It is interesting] how things were started by the monarch, then copied by the court, . then by the merchants and the middle classes. 'It was that trickle-down . effect that people still talk about today with fashion and it's . fascinating that that was happening 400 to 500 years ago as well. ‘It’s clothing to present oneself in a particular way, asserting yourself through what you wear.’ And he's not wrong. In 1666, Charles II announced that he was to introduce a new fashion for men – a long vest worn under a coat, instead of a short doublet and cloak. Later to become the three-piece suit, the style spread so quickly that three weeks later the diarist Samuel Pepys was wearing his own version. Pugh's own work, which he describes as ‘a kind of modern armour’, is replete with references to 15th century garb, and has included reworked versions of the Elizabethan ruff, as well as a wearable spin on King Henry VIII's famously large suit of armour. It's a far cry from the reliably feminine work of Alberta Ferretti and others, but then, as Pugh puts it: 'Fashion isn’t really about clothes. It’s more about an idea, an alternate reality.' His alternate reality, more often than not, is a Tudor one - something which came about after a memorable trip to London as a child. Power dressing: The triangular shapes favoured by Charles I (left) and Elizabeth I emphasised their royal status . 'I first became interested in the Tudors and Stuarts when I was very young. I remember being brought down to London for the first time and I was with my dad and brother who were coming to watch Sunderland play at Wembley. 'Because my mum didn't want me to feel left out, because I wasn't that much into football, she took me round the tower of London and [bought me] a magazine [there]. 'I remember the first issue: it was all about Queen Elizabeth I and it came with all these little costume things so you could dress them up, and I remember I wasn't very good at drawing heads, so I would get my mum and dad to draw the heads, and then I would draw in the outfit from the neck down.' So fond of the period is the designer, . he's teamed up with the Royal Collection to produce a potted history of . Tudor fashion ahead of the launch of In Fine Style: The Art of Tudor and Stuart Fashion - the summer exhibition at Buckingham Palace. 'It's very much about presenting oneself as an icon I guess... It's very powerful,' added the designer. 'You can sometimes be a little lazy when you look at paintings – you focus on the face,' he added. 'This exhibition has much more of an emphasis on what’s happening from the neck down – and as a fashion designer that’s my currency. Inspiring: Pugh first became interested in the Tudor period following a visit to the Tower of London as a child . Power: According to Pugh, the Tudor triangular silhouette was the 15th century equivalent of shoulder pads . Beginning with the early 16th . century, the exhibition traces the changing tastes of the royal courts . and the spread of fashion through Europe, much of which boasts the . triangular shape that has become Pugh's trademark. 'I love triangles,' he adds. 'You know in physics, . the triangle is the strongest shape known to man. 'It's all very subtle . but in the end it all comes down to that silhouette of power and that's . something I like to inject into my own work.' 'These garments served a function and are as important as the portraits themselves – it was their language and how they communicated on a non-verbal level. That’s an exciting aspect of the exhibition.' The exhibition's curator Anna Reynolds said working with Pugh had been 'fantastic'. 'It’s been fantastic to get Gareth’s insights into the fashions of the Tudor and Stuarts and to realise that some of the trends popular more than 400 years ago still echo on the world’s catwalks today,’ she said. In Fine Style: The Art of Tudor and Stuart Fashion runs from the 10 May until 6 October at the Queen's Gallery in Buckingham Palace. For tickets and visitor information, see royalcollection.org.uk . Resemblance: Some of Pugh's pieces bear a striking similarity to Henry VIII's famously large set of armour . Ravishing: Garments such as this worn by Frances Stuart, Duchess of Richmond, were intended to scream VIP .
'Their clothes were devices of subliminal power,' says Pugh .
Fascination began after childhood visit to Tower of London .
Collaborated with Royal Collection on video exploring period .
By . Ruth Styles . PUBLISHED: . 09:20 EST, 6 May 2013 . | . UPDATED: . 09:20 EST, 6 May 2013 . He's famous for his ravishingly modernist work but designer Gareth Pugh has revealed that his inspiration is firmly rooted in the past. And while the Tudor monarchs that so fascinate him might not have had pinstripe suits and ties, they were, says Pugh, the world's first power dressers. Just as designers in the 1980s used shoulder pads to give the illusion of broad shoulders and size, so Elizabeth I and her father Henry VIII used triangular-shaped garments to create a 'silhouette of power', Pugh points out. Scroll down for video . Back to the future: Designer Gareth Pugh with designs inspired by the Tudor and Stuart periods . Power dressing: Pugh's Elizabethan style ruffs and armour inspired designs on the catwalk in Paris . 'Their [clothes] are definitely devices of subliminal power,’ Pugh says. ‘I’m very much taken by the idea of the Tudors being the first power dressers – that idea of using clothes for more purpose than just clothing oneself. '[It is interesting] how things were started by the monarch, then copied by the court, . then by the merchants and the middle classes. 'It was that trickle-down . effect that people still talk about today with fashion and it's . fascinating that that was happening 400 to 500 years ago as well. ‘It’s clothing to present oneself in a particular way, asserting yourself through what you wear.’ And he's not wrong. In 1666, Charles II announced that he was to introduce a new fashion for men – a long vest worn under a coat, instead of a short doublet and cloak. Later to become the three-piece suit, the style spread so quickly that three weeks later the diarist Samuel Pepys was wearing his own version. Pugh's own work, which he describes as ‘a kind of modern armour’, is replete with references to 15th century garb, and has included reworked versions of the Elizabethan ruff, as well as a wearable spin on King Henry VIII's famously large suit of armour. It's a far cry from the reliably feminine work of Alberta Ferretti and others, but then, as Pugh puts it: 'Fashion isn’t really about clothes. It’s more about an idea, an alternate reality.' His alternate reality, more often than not, is a Tudor one - something which came about after a memorable trip to London as a child. Power dressing: The triangular shapes favoured by Charles I (left) and Elizabeth I emphasised their royal status . 'I first became interested in the Tudors and Stuarts when I was very young. I remember being brought down to London for the first time and I was with my dad and brother who were coming to watch Sunderland play at Wembley. 'Because my mum didn't want me to feel left out, because I wasn't that much into football, she took me round the tower of London and [bought me] a magazine [there]. 'I remember the first issue: it was all about Queen Elizabeth I and it came with all these little costume things so you could dress them up, and I remember I wasn't very good at drawing heads, so I would get my mum and dad to draw the heads, and then I would draw in the outfit from the neck down.' So fond of the period is the designer, . he's teamed up with the Royal Collection to produce a potted history of . Tudor fashion ahead of the launch of In Fine Style: The Art of Tudor and Stuart Fashion - the summer exhibition at Buckingham Palace. 'It's very much about presenting oneself as an icon I guess... It's very powerful,' added the designer. 'You can sometimes be a little lazy when you look at paintings – you focus on the face,' he added. 'This exhibition has much more of an emphasis on what’s happening from the neck down – and as a fashion designer that’s my currency. Inspiring: Pugh first became interested in the Tudor period following a visit to the Tower of London as a child . Power: According to Pugh, the Tudor triangular silhouette was the 15th century equivalent of shoulder pads . Beginning with the early 16th . century, the exhibition traces the changing tastes of the royal courts . and the spread of fashion through Europe, much of which boasts the . triangular shape that has become Pugh's trademark. 'I love triangles,' he adds. 'You know in physics, . the triangle is the strongest shape known to man. 'It's all very subtle . but in the end it all comes down to that silhouette of power and that's . something I like to inject into my own work.' 'These garments served a function and are as important as the portraits themselves – it was their language and how they communicated on a non-verbal level. That’s an exciting aspect of the exhibition.' The exhibition's curator Anna Reynolds said working with Pugh had been 'fantastic'. 'It’s been fantastic to get Gareth’s insights into the fashions of the Tudor and Stuarts and to realise that some of the trends popular more than 400 years ago still echo on the world’s catwalks today,’ she said. In Fine Style: The Art of Tudor and Stuart Fashion runs from the 10 May until 6 October at the Queen's Gallery in Buckingham Palace. For tickets and visitor information, see royalcollection.org.uk . Resemblance: Some of Pugh's pieces bear a striking similarity to Henry VIII's famously large set of armour . Ravishing: Garments such as this worn by Frances Stuart, Duchess of Richmond, were intended to scream VIP .
were, says Pugh, the world's first power [clothes] are definitely devices of subliminal following a visit to the Tower of London as a