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This one is only semi historically accurate. The peril of doing work for other people, especially on comission, is that you have to make some concessions to their preferences and desires. In this case, the subject wasn't really sure he was comfortable wearing tights, and wanted "real pants". C'est la vie, n'est-ce pa? The doublet is documentable. The biggest glaring inaccuracy with it is that the buttons down the front aren't as close together as they ought to be for the period. There are portrait and surviving examples of doublets done with a different color at the shoulders than on the lower part of the front. The smaller area of contrast at the back of the shoulders is an idea copied from a women's spanish surcoat shown in Janet Arnold's Patterns of Fashion. The shoulder bits are quilted. (My poor little Brother machine dealt with this much better than I had expected.) You cannot see this, because the cloak is in the way, but the doublet actually uses a period pattern with a seam that runs from the back of the armscye to a point on the waist right between the center back and the side seam, on either side of the back. This seam and the curve of the front edges were the primary means of contouring the doublet to its wearer. All of the doublet/sleeves, the cape, the hat, and the front yoke/collar and wrist bands of the shirt are lined.
This is supposed to be in a gold-ticked black upholstery velvet, accented in green velvet and plain gold cord. The digital camera used to take the picture seems to have felt it would look better in marroon and green. Technology is a little wacky sometimes. The cape and pants are mostly black denim. In period, they would likely have been wool, as cotton was prohibitively expensive and the climate in england was rather chilly and damp, but in the here and now, cotton is cheap and summer is hot. The cap is corderoy. The feather is actually a small ostritch plume, with small bundles of peacock drabs sewn to it's spine. The ends of the feathers are covered with a gold filigree cone.
