Natalie Dormer Tits: the Bath Scene in Game of Thrones
Key takeaways
- Corsetry does the heavy lifting in The Tudors
- Game of Thrones leans on water, candlelight and sheer fabric
- Modern roles swap cleavage for tailored, tactical lines
Natalie Dormer Tits on The Tudors
Start where the conversation actually starts, because pretending otherwise is silly. The Tudors is the show that put her on the map for a lot of people, and it did it with square necklines and boned bodices that did not leave much to the imagination. Anne Boleyn's gowns sit low and wide across the chest, the kind of cut that flattens the stomach with a stiff front panel and shoves everything up and out at the same time. That is the whole trick of period costume: hard structure below, soft skin above.
The bedchamber scenes are where it lands hardest. Henry unlaces her, the linen shift slips off one shoulder, and the light is all candles and no fill, so the shadows sit under the collarbone and across the tops of her breasts. The camera does not rush. It hangs on her hands, on the laces, on the way the fabric gives. She is playing a woman who knows exactly what she is doing with her body, and the costume is in on the joke.
The Bath Scene in Game of Thrones
Season two, Margaery climbs into the tub with Renly and the camera sits right down at the waterline. Steam curls off the surface, the water stops at about nipple height, and her arms rest along the rim so her shoulders stay open. It is a masterclass in hiding and revealing at once — the water covers the bottom half, the candlelight catches the top, and the whole frame is built to keep your eye exactly where it wants to go.
What makes it work is that she is talking. Politics, the succession, the marriage, all of it, delivered in that low even voice while the audience is absolutely not following the plot. The water ripples when she moves and the surface breaks just enough. Nobody in the scene is looking at her chest. Everybody watching is.
Sheer Fabric and Candlelight
The later bedroom scene with Tommen runs on a different engine. No water, no corset — just a sheer robe, a low light source off to one side, and a lean forward that lets the neckline drop open on its own. The fabric is thin enough that the light goes through it, so you get the shape and the shadow together, and the camera stays wide enough to keep her waist in frame.
This is the scene people screenshot. The robe is loose at the shoulder, the candle sits behind her, and the whole thing is staged so that nothing is grabbed or hoisted into place. It just hangs. That looseness is what sells it — the opposite of the Tudors boning, and just as deliberate.
Cressida and the Armor
Mockingjay goes the other way entirely. Cressida is a war correspondent in a tactical vest and a compression top, and the styling flattens her down instead of pushing her up. The vest cuts across the chest, the dog tags sit in the gap, and the harness straps pull everything tight and functional.
The half-shaved head does a lot of the work here. It drags the eye down the side of the neck, over the collarbone, and into the open V of the vest. Less skin than The Tudors by a mile, and somehow the shape reads clearer because there is no decoration competing with it. Utility as a look.
Penny Dreadful and 1930s Glamour
Penny Dreadful: City of Angels dresses her in bias-cut silk and deep V fronts, all 1938 Los Angeles and art deco lines. Magda changes costume and character constantly, but the cut stays low and the fabric stays liquid, so the gowns move when she moves and the neckline keeps opening and closing with the walk.
Bias cut is unforgiving — it clings and it shows every line of the body underneath — and the costuming leans into that instead of fighting it. Shoulders back, chin up, a cigarette in one hand. It is the most grown-up version of the look on this list, and it is doing it with tailoring rather than skin.
What the Styling Actually Does
Put the scenes side by side and a pattern falls out. Hard structure underneath, soft fabric on top, a neckline that frames rather than covers. The Tudors uses boning, Thrones uses water and gauze, Angels uses bias silk, and Mockingjay strips it back to straps and webbing. Four different eras, one method.
She has a short waist and a full bust, and every one of these costumes is built to stretch the torso and lift — the corset, the high waterline, the empire-ish drop on the robe, the vertical harness. The lighting does the rest: candle, steam, a single source off to the side. None of it is accidental, and none of it needs to be. It is costume design doing exactly what costume design is for, and the camera knows where to stand.
Which Natalie Dormer scene shows the most?
The Tudors bedchamber scenes and the Game of Thrones bath scene with Renly are the two that get cited constantly. The Tudors goes further on nudity, while Thrones works the waterline and the candlelight.
Does she actually do full nudity on screen?
Yes, in The Tudors. Game of Thrones is mostly topless and implied rather than full, and the later roles keep it to cleavage and sheer fabric.
What bra size is she?
She has never confirmed one publicly, so the numbers floating around are guesses. The costume designers work from structured corsetry and compression tops rather than a stated size.
