Home / Customer Service / Shop Internationally Planning a visit to the United States? Or have friends and family in the U.S.? Shop at Sears to get everything you want—including great gifts for yourself or others. You'll be happy to see how online shopping in the U.S. couldn't be easier. Simply use an international credit card. shop Sears U.S. now Free U.S. Store Pickup Order something online but need a little help picking it up? You (or someone you know) can pay and pick up online orders at a Sears store. find a Sears store | U.S. Shipping & Delivery Looking to keep it simple? Get your order shipped or delivered to any address in the United States—including hotels. Get a little help from friends and family to get what you want—simply have your order delivered right to them. Did you know Sears ships to over 100 countries? Take advantage of this major convenience and get whatever you wish, shipped to wherever you want.
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We are based in Farnham, Surrey and our premium quality white linen chair covers are a perfect fit and are all hand-ironed prior to fitting. We offer a comprehensive range of beautiful organza or taffeta sashes to co-ordinate with your colour scheme and also stock lace and burlap (hessian) sashes. We also have vintage style replica post office post boxes to hire! Once you decide on our services we are happy to meet with you at your venue to discuss venue styling ideas for your wedding or function. We offer a seamless and attentive service from enquiry through to collection. We will deliver and fit the chair covers and sashes, having liaised with your venue regarding access times. We and are proud to work closely with many of the most prestigious venues in Surrey & North Hampshire. Our chair covers and sashes have also dressed Christmas party and wedding marquees to dramatic effect. See who recommends us. We love to work at new venues too and if we haven't worked at your venue before we are always delighted to meet up and show you our chair covers, check for a perfect fit and make sure you are happy with colour schemes and arrangements.
Have a browse though our Galleries and see rooms dressed at Northbrook Park, Froyle Park, Farnham Castle, Great Fosters, Lythe Hill, Bartholomew Barn, The RAC Club Epsom, Cain Manor, Greyfriars, Loseley Park, Bury Court Barn, Frensham Heights, Clock Barn Hall, The Elvetham Hotel, to name just a few of our favourite venues! Not sure if you need chair covers but would like to dress the chairs with sashes? Contact us to discuss your ideas. See our Facebook page to see what we are up to where! Click here to give us feedback or report bugs about the new version of ezbuy websiteThe French hood, obviously enough, had its origins in France. (find round hood picture) This painting of a young Katharine of Aragon shown to the left, created circa 1520, shows its origins-a veil similar to that worn by Margaret Beaufort shown in the section on English Gable hoods, but with a wired front which stiffened it into a round shape, rather than a pointed top. The golden-colored, pleated band showing at the front of her veil remained an integral part of the french hood of the next two decades, but the construction, shape and silhouette of the rest changed drastically.
Anne Boleyn is credited with introducing the French Hood into England. During her stay at the French court she adopted the contintental style, and continued to wear it upon her return to England. This portrait of Anne shown to the right depicts the classic early French Hood, as it was worn in England-closely fitting the head, covering the ears, with a gradual flare towards the back and the usual gold, pleated ribbon around the base. Whether this pleated ribbon is part of the hood or part of a coif worn beneath the hood is unknown. The French hood is obviously a separate item, and not a folded back section of the veil worn with it. A row of pearls decorates the top and bottom edges of the hood. Known as "billiments" by the people of the time, these decorative jeweled and pearled edges were, though not essential, a fashionable addition to a plain french hood. Billiments sometimes matched the jeweled edging of a gown; indeed, the portrait of Queen Elizabeth as a young girl shown to the left, painted in 1545, shows her wearing a french hood of the same fabric of her gown as well.
This, however, is not the case with most portraits; the overwhelming majority of french hoods were black, apparantly of satin, taffeta or perhaps velvet, with at most an edging of white fabric along the top or bottom. A black veil was attached to the inside back of the hood, where it fell to below the shoulders. Various interpretations of this veil shape have been used by re-enactors; some prefer a semi-circular veil, while others use a rectangular shape. There is evidence that bags as well as veils could be attached to the hood, though the only depictions of this are of young children like the one shown to the right. (see Hairnets, Cauls & Snoods for more information.) When the french hood first appeared in portraits of the nobility, its shape was not radically dissimilar to that of the transitional English hood-it was pretty much the same shape, but wired into a round rather than square silhouette. When experimenting with patterns for Square and French hoods, I found that an identical pattern with only miniscule changes could make both.
As it gained in popularity, however, the shape of the french hood evolved-the tips of the hood narrowed into points and the side curve grew more pronounced, allowing the wearer to arrange her hair into poufs at either side of her head as the young princess Elizabeth does in the portrait shown above. The fashionable variety in french hoods was much greater than that of the preceding gable hood; not only the fabric and decoration of french hoods differed from piece to piece, but the shape of the wired base could be changed as well to create different profiles. Queen Mary, for instance, wore a french hood with a round profile when younger (shown to the left), but in later years favored one with a flatter top (shown to the right). Katharine Howard, King Henry's fifth wife, is painted in a late Tudor (1540s) French hood which looks quite different from the hood worn by Anne Boleyn. It is white, and has a much curvier shape. It shows a strap underneath Katharine's chin keeping the hood on.
Other portraits show no strap; whether the omission is artistic license, or the product of an as-yet-unknown method of keeping hoods in place, is still a mystery. The hood worn by the older queen Mary, depicted above, was of a type popular during the 1550s. As you an see, the shape has changed still more. It is shorter and flatter, and the sides have broadened considerably from their original narrow point. By the time Queen Elizabeth was firmly ensconced upon the throne of England, the headwear of the well-to-do and the nobility had changed dramatically. The hood, now sometimes referred entirely as a "billiment" as well as a french hood, shrank even more in the 1560s and 1570s into a delicate arrangement of lace, jewelry, pearls, and fabric placed far back on the crown of the head. To the left is a portrait of Queen Elizabeth painted in the 1570s, showing such a billiment; to the right is a detail of another noblewoman's portrait, painted in 1560s, showing a similar item of headwear.