It is almost certain that many were made in France but they were probably produced much more widely. Further, boxwood or Ivory combs with elaborate carved and pierced decorations were also fashionable accessories for both women and men from about 1400. For medieval men and woman combs were essential to dress the hair, as well as to rid it of lice, fleas and nits and none of the portraits show him with unkempt or unruly hair. Chances are that Richard III owned several highly valuable combs and that he used them on a daily basis. The last bit is probably totally non-medieval. Now he is presented with a mouse-coloured look and rather unkempt hair. Last week however, he went to the hair-salon once more. Later, after DNA-analysis had shown that his eyes were blue and his hair blond, he had a serious “makeover”. First he was presented with brown eyes and dark hair. Since the first reconstruction of the face of Richard III he has changed looks several times. Is that plausible? Late Medieval Comb © V&A In the latest version he is sporting unkempt mouse-coloured hair. This paper will delve into the complex meanings attributed to fur: its status as a luxury good as well as the visual and symbolic associations to eroticism that inhibited its open display.Richard III has changed his look three times in the last three years. For that reason, the suspicions surrounding animal skins have to be taken into account when considering the rage for using valuable pelts in Europe. Because it was linked to the emotions, it had the power to disturb the mind and the soul, and to disrupt order by posing a threat to a rational, civilized community.

Renaissance eroticism was mainly associated with the baser, sensual faculties and sexual appetites, that is, animal behaviour.

Wearing fur on the outside of the garment raised a series of moral issues concerned with the animal origin of fur and the wearer's relationship to the animal world. Contrary to modern expectations of conspicuous display these valuable skins were used as linings for clothing with the fur in contact with the body. In addition to the explicit aspect of wealth, owning wild animal furs also meant that the wearer came from good lineage and could dress as befitting a noble station thanks to the exemption from the restrictions imposed by sumptuary laws. Ownership of wild animal furs in Renaissance Italy was a sign of prosperity and social status.

Ambiguous Locks by Roberta Milliken