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The silver tissue dress

9 Sep

Ah, Friday. Let’s look at something beautiful and very, very special as we ease into the weekend. This week has just flown by hasn’t it? Or at least, it has here. It might have been really slow for you. It’s a funny thing, time.

This gown is the oldest piece in the Bath Fashion Museum and is extra special not just because of its gorgeousness because it is one of a very few complete seventeenth century dresses that are still in existence. Let’s just think about that – this dress, a fragile thing in itself, has managed to survive for around three hundred and fifty years.

The gown is known as the ‘Silver Tissue Dress’ because the fabric softly glimmers in the most luxuriant manner thanks to the warp being silk and the weft silver metallic thread. The warp is the main thread that is used to weave a fabric, while the weft is the thread that is drawn through and which can therefore be of  a less strong and more luxe type.

‘The bodice is lined with linen; the sleeves with coarse cotton; the skirt hem with linen; and the front panel with silk. The bodice is heavily boned with a piece of stiff brown paper or parchment added for reinforcement at the centre back. The bodice laces down the centre back and has an off the shoulder décolletage bound with cream tape and large puff sleeves, slashed at the front. It forms a deep point at the centre front, peplum slashed and each tab is bound with tape. The skirt has a straight panel centre front from which it is pleated either side towards the back. It has a wool-lined pocket at the right side.

 It is decorated with applied parchment lace; a silk bobbin lace enclosing strips of parchment.

It’s incredible how much construction and, yes, engineering goes into these gowns that look as delicate and decorative as a butterfly wing isn’t it? While the artistic vogue of this period was to be depicted in a sleepy eyed sultry haze with gorgeous shimmering silks and satins draped beautifully but somewhat pointlessly about one’s person, there’s also plenty of examples of women wearing dresses very similar to this one in their portraits.

It’s not known who originally wore this grand and amazing dress although they were clearly a woman of some standing at the Restoration court of Charles II, perhaps his sister Henriette, who was just sixteen when her brother mounted the throne and she paid her first visit to England since being forced to flee as a toddler during the Civil War. This could fit as due to the small size of the gown, it seems likely that it was made for a young woman or girl, possibly for a ball or her wedding or maybe for a court event. Whatever the occasion, she must surely have been the cynosure of all eyes as she walked into the room, her beautiful silver dress glimmering softly in the candlelight. Did she steal shy looks around the splendid company as she slowly approached the King or was she confident, bold and fully aware of the dazzling power of her outfit?

The silver tissue dress is on permanent display at the Fashion Museum in Bath. Many thanks to everyone there for sending me the extra information for this post.

The last seven days…

30 Aug

I had a bit of a revelation earlier today when I realised that my blog is nothing like a lot of the blogs that I really enjoy reading and, in fact, most aspire to be like. How odd is that? I suppose we bloggers evolve our own style over time and as this blog was started in a reaction against the suffocatingly malevolent atmosphere of Live Journal, I originally set out with a determination not to share anything of myself with readers. That’s fallen by the wayside over the intervening two years, of course and so I thought I might as well make a regular thing of it and post a weekly update, usually on a Sunday afternoon about the highlights of the preceding seven days.

Well, if you’re going to get wet, you might as well go swimming, right?

  • Dave and I have been really into Thai curry lately – it’s perfect for our vegan diet, so long as we can find all the bits and pieces without fish paste in them. Tonight’s dinner was a Moroccan tagine type thing, for which I was a Cheaty McCheater and used a sauce by a company called The Curry Sauce Co. Even the children enjoyed it, which is saying something. They were certainly rather keener on the couscous element than I had expected.
  • We have grotty weather right now and I’m afraid that I’ve given up on summer altogether now and am looking forward to Halloween and lovely Autumn. I’ve started lighting candles every evening to make the house feel cosier – I’m getting really into it and even have a wish list for Yankee Candles on my mobile phone. I’m planning to get Creamy Caramel, Lavender Vanilla, Vanilla Cupcake, Candy Corn and Spiced Pumpkin first and can’t wait.
  • I’ve been slacking off the writing for the last day or so and have been reading Harry Potter and the Half Blood Prince and loving it. Felix and I went to see The Deathly Hallows II again last week and I’ve been intrigued ever since by Draco Malfoy’s seeming change of heart in the last two films. I can’t wait to see what he does in the book.
  • I’ve been spending far too much time listening to Fields of the Nephilim lately. As regular readers will already know, the Neph were one of my favourite bands if not THE favourite band when I was growing up and I thought Carl McCoy was just the epitome of loveliness. I’ve neglected them for a while but have found myself listening to them again lately, particularly some tracks on The Nephilim album and, well, really they are still amazing. I’ve also been listening to a lot of stuff by The Kidneythieves (Before I Die is a fantastic track – it’s played at the very end of Queen of the Damned) lately.
  •  I’ve never really rated The Duchess as a film but watched it again the other night and enjoyed it rather more. I wish they had gone into Georgiana’s complexities and accomplishments a bit more rather than focussing on all the scandal and woe of her life though. Also it’s really hard for me to see Ralph Fiennes as anything other than He Who Must Not Be Named these days.
  • As a reward for doing the P&G 1930s Housewife Challenge (no reward was necessary really as I had a lovely time but it’s nice to be appreciated) I was sent a gift voucher for the Lido in Clifton, which is a bit exciting. I’ve now booked myself in for a full day of swimming, lounging around reading, vegan lunch and then an hour long Hawaiian face pummelling. I can’t wait!
  • Fashion wise, I’m getting bored with having bright pink hair (strangely, it is possible to get fed up with this – who would have thought it?) and am considering going a paler baby pink or maybe a teal blue green. I’m also obsessed with moonstones, chartreuse green Chanel nail polish, fig perfume (let’s face it, I’m ALWAYS obsessed with fig scents) and star print on dresses.
  • Autumn must be coming as I’m thinking about starting the boys on porridge tomorrow morning as it is so much more warming. We also bought a big bottle of Morgan’s spiced rum this afternoon, which I’m looking forward to starting and I’m thinking I may have to get some Winter PIMMS as well. I’ve also decided that from now on I am going to bake at least one (vegan) cake and a batch of cookies or cupcakes every week.
  • We’re lucky enough to live a few minutes walk away from a vast Victorian cemetery called Arnos Vale, which is just beautiful and so peaceful. The only thing is that although it is perfect for afternoon walks (and they sell lovely lavender plants in their shop at the gates), it leads to some really awkward questions from Felix.
  • I’ve been thinking a lot about the Princess Diana YA novel and am so grateful for all the wonderful and encouraging feedback that I have had about it. I would seriously love to write it and have even worked a few things out for it but I am really not sure that legally I would be able to do so no matter how careful and respectful I intended to be about everyone involved.
So how was that? A nice change or too much of a change? I’ll only be posting like this once a week and to be honest I’m really hoping that it makes me take more photographs, do more interesting things and er make the effort to put make up on in the morning…

Ingres

29 Aug

Along with David, Boilly and Gérard, Ingres, who was born on this day in 1780, was one of my favourite artists when I was a French Revolution obsessed teenager and undergraduate. Luckily for me, there was a ample opportunity during my History of Art degree to study the works of the Neo-Classical artists but I’m afraid that my love for Ingres and David has waned somewhat over the subsequent years.

Nonetheless, I thought I’d share a couple of favourites with you today in honour of his birthday. Clearly, my love of really flouncy female portraits will NEVER diminish.

Baronne James de Rothschild (1848, collection privé) dressed in a gown that is reminiscent of Quality Street wrappers and marshmallow whip. There’s not many complexions that could carry off this ensemble but that won’t stop people trying. I think Madame la Baronne is one of the few who looks good in medicinal pink though.

Louise de Broglie, Comtesse d’Haussonville (1845, Frick Collection) looking thoughtful and a teensy bit flirtatious by a mantelpiece. Madame d’Haussonville was a talented writer, whose biographies of La Reine Margot and Byron suggest that she was irresistibly drawn to the Mad, Bad and Dangerous To Know. As with Madame la Baronne, I find the posing of her hands interesting as Ingres wasn’t exactly great at painting them (RUBBER FINGERS) and yet he still insists on making them the focus point of his portraits. It’s almost as if someone once said to him: ‘You know what, Ingres, you can’t paint fingers for TOFFEE’ and he got into a defiant huff and went ‘Well, we shall see about that!’

 

Joséphine-Éleanore-Marie-Pauline de Galard de Brissac de Béarn, Princess Albert de Broglie (1853, Metropolitan Museum of Art). Ingres captured the rather awkward, shy demeanour of this rather pious young woman perfectly – it’s clear that she is no flirt, unlike her pretty sister in law, Louise.

Marie-Clotilde-Inès de Foucauld, Madame Paul-Sigisbert Moitessier (1856, National Gallery). Oh dear, again with the fingers. This is a glorious piece isn’t it? I love her beautiful flounced floral dress, the almost Mona Lisa like grave humour of her expression and, as always with Ingres, the sumptuous richness of her surroundings. It’s said that Ingres wasn’t actually all that keen on portrait painting but, like so many other artists over the centuries, saw it as a useful way to keep himself funded while working on his true love of history paintings. He was originally unwilling to take on Monsieur Moitessier’s commission to paint his beautiful wife but then relented after meeting the lady herself. However, it took him seven years to complete the painting with the result that the Moitessier’s daughter, Catherine, who was originally intended to be at her mother’s side, wasn’t included as she was all grown up by the time it was finished.

The dresses from this period are dreamy, aren’t they? Let’s have a look at a few from the collections of the Metropolitan Museum of Art in New York…

French evening dress, c1860.

Silk cotton evening gown, 1860.

Silk and gauze ball gown, c1854.

American silk wedding dress, c1855.

French cotton afternoon dress, c.1855.

Dressing the Stars at Bath Fashion Museum

12 Jul

We have a bit of a cinematic theme here at Madame Guillotine lately, don’t we? Today  Felix and I headed off on a train to Bath for the opening day of the new exhibition Dressing the Stars at the fabulous Bath Fashion Museum, which is housed in the former Assembly Rooms where Georgiana, Duchess of Devonshire, Jane Austen and a whole host of Georgette Heyer heroines flirted, dance and exchanged frosty bows with acquaintances.

Nowadays, the Assembly Rooms have been used as a location for several film and television productions, including Persuasion and The Duchess and so it makes an excellent setting for a magnificent exhibition of costumes from some of the finest films ever. I already knew to expect dresses from Young Victoria, The Duchess, Tess, Elizabeth and Sense and Sensibility but gave a definite gasp when I walked into the pale blue and white ball room and saw a splendid display arrayed before me.

 

I had a quick chat with the exhibition organiser, Yvonne Hellin-Hobbs, who has many years experience of working with costumed films and worked on Sense and Sensibility, which everyone who has read Emma Thompson’s memoir of the filming knows must have been a VERY fun film to work on! She told me that her favourite costume comes from the film Tess: a gorgeous and delicate looking wine coloured gown that looks like it might actually be a genuine piece from that era. All of the costumes on display looked amazing but when you get up close, the illusion that they create on screen is often dispelled and you realise that they aren’t actually a genuine period piece. Not so with the Tess gown.

Here’s a selection of some of the costumes that I saw:

A beautiful lilac dress worn by Bette Davis in Death on the Nile (1978).

An intricate doublet worn by Laurence Olivier in Hamlet (1948).

Roman armour from Ben Hur (1959).

Another Laurence Olivier costume, this time from Henry V (1944).

Captain Jack Sparrow!

Commodus’ white armour from Gladiator (2000).

Dress worn by Charlotte Rampling as Lady Spencer in The Duchess (2008).

Worn by Ralph Fiennes as the Duke of Devonshire in The Duchess.

Wedding dress worn by Keira Knightley as Georgiana in The Duchess.

Gown worn by Keira Knightley in The Duchess. I find this piece interesting as an unusual example of what maternity wear would have looked like in the 1780s.

Dress worn by Keira Knightley in The Duchess. This is the dress that Georgiana wears in the scene where she attends a ball in a rather squiffy state.

Wedding outfits worn by Alan Rickman and Kate Winslet as Colonel Brandon and Marianne Dashwood in Sense and Sensibility (1995).

Detail from a dress worn by Miranda Richardson as the Duchess of Kent in The Young Victoria (2009).

Uniform worn by Colin Firth as George VI in The King’s Speech (2010).

Dress worn by Helena Bonham-Carter as Queen Elizabeth in The King’s Speech.

Dress worn by Gwyneth Paltrow as Viola in Shakespeare in Love (1998).

Gown worn by Judi Dench as Elizabeth I in Shakespeare in Love.

Costumes worn by Cate Blanchett  as Elizabeth I (and lovely Clive Owen as Walter Rayleigh?) in Elizabeth: The Golden Age (2007).

Coronation ensemble worn by Cate Blanchett as Elizabeth I in Elizabeth (1998).

Fancy schmancy costume worn by Robert Downey Jnr as Robert Merivale in Restoration (1995).

Beautiful dress worn by Swoosie Kurtz as Madame de Volanges in Dangerous Liaisons (1988).

As well as beautiful dresses and dashing uniforms, there was also a dressing up rail in the corner with childrens’ costumes made especially for the exhibition, which I think will be very popular! Felix immediately made a beeline for it and was dressed up as one of his heroes – Captain Jack Sparrow! Arrr! There were also gorgeous dresses in a Georgian and Regency style for little girls to dress up in. There’s going to be some activities for children as well over the summer while the exhibition is on, including opportunities to design court dresses and other fun things.

This is an amazing exhibition – it’s really great to be able to view such gorgeous costumes up close and I’ll definitely be returning before it ends on the 29th August. I’m also hoping to get to one of the special events that they have planned, include special screenings of The Kings Speech (introduced by the costume designer, Jenny Beavan) and The Young Victoria (introduced by scriptwriter, Julian Fellowes).

 

If you live in the north of England and feel a bit left out, some of Dressing the Stars will be moving to the Rheged centre in Penrith later in the summer. In the meantime, it’s definitely worth a trip to Bath.

Here’s more information about the exhibition, including opening times.

 

Ps. We were filmed and interviewed by the crew of Points West while there this afternoon and apparently will be on this evening’s show! Eek. I’m not the greatest public speaker ever so am hoping I don’t appear but Felix was a DOLL and the politest little pirate there ever was so I hope they show him.

 

Back from London

5 Jul

I am back from a two day trip to London, where we saw some amazing things and completely destroyed our feet in the process. Whenever I go to London I feel a certain regret that despite growing up nearby in Colchester, coming from a proper old fashioned East End family and then accidentally living there later on (in my defence, my then boyfriend was one of those controlling weird freaks who don’t read books, despise intellectual pursuits and think their partners shouldn’t have their own interests and so systematically ridiculed me about my love of history until, exhausted by the jibes, I decided it was best to just turn my back on it), I appear not to have taken full advantage of these facts. Still, we’re making up for it now!

I have a series of posts planned for this week about my adventures over the last few days, but thought I’d start with a brief photographic tour of What We Got Up To, which should hopefully provide a bit of a taster for what I have in store for you all…

A photo in passing of the spire of St George in the East Church on the Highway, Wapping. This is of course one of the six Hawksmoor ‘creepy’ churches that one will find dotted around London, all of which are fascinating structures. I’m particularly fond of this one as I grew to know it well during the previously mentioned residence in London which involved a lot of hanging around Wapping.

I’ve wanted to get to the top of the White’s Row car park on Commercial Street for ages just so that I can get this shot of the nasty little service road that runs alongside it. Weirdly and as I may have mentioned one or two times before, this road is the site of Dorset Street, which was apparently the worst street in London at the end of the nineteenth century and central to the Jack the Ripper case. The murder of Mary Jane Kelly took place in Miller’s Court, which ran off to the right hand side of the road, roughly where the shuttered doors are here.

The best known of Hawksmoor’s ‘creepy churches’ (look, that’s just what I like to call them), Christ Church on Commercial Street, Whitechapel. This church will be familiar to fellow fans of From Hell (both the book and the film) as it looms eerily over the crowded, revolting streets of Victorian Whitechapel.

I now know that my ancestor Sergeant Lee of H Division in 1888 (yes, Ripperology IS genetic), lived most of his life in the shadow of Christ Church. I totally forgot to get a photograph of the address that he lived at though with his enormous family – next time!

Christ Church looks great when snapped with the Hipstamatic app on my iPhone as I went past on my way to Folgate Street. I took F with me and pointed out the old Truman Brewery on the way, where my great grandfather was a manager. I think that Whitechapel is the place that I feel most at home because there are echoes of my family and therefore me at every turn.

I’m fascinated by the juxtaposition of grimy old and shiny new in Whitechapel, as illustrated by this photograph. I was in Spitalfields to visit Dennis Severs’ house at 18 Folgate Street, which was even better than I expected it to be and a magical and unforgettable experience. I’ll be posting in full about it this week…

A view down Artillery Lane that runs between Spitalfields and Bishopsgate. A spindly, narrow little street, lined with Victorian shops and houses that gives an evocative reminder of how this area would have looked at the time of the Ripper murders. I’ve already decided to have one of my book launches there at some point – in Before The Storm, one of the characters, Sidonie comes from a house on Artillery Lane.

More of the old and new – a view of St Botolph Without Bishopgate church which we walked past on our way from Bishopsgate to the Museum of London. John Keats was baptised here in 1795. I always get in confused with St Botolph’s in Aldgate, which was known as the ‘Prostitute’s church’ in Victorian times as ladies of the night used to walk around it touting their wares.

Mind you, the guide on a Ripper walk I went on many moons ago also seems to have been confused between the two as he took us to the one on Bishopsgate and told us that it is where the prostitutes used to hang out…

We took a walk through the remnants of the Medieval city to Moorgate and then the Barbican beyond. Very little remains of the old city but you can glimpse echoes of the past every now and again…

Photograph of the Lord Mayor’s carriage in the Museum of London, taken by a nice young man who noticed me struggling with O, the pushchair, a mountain of bags and my phone. I really enjoyed the Museum of London, although it closed earlier than the time stated on their website and so I missed seeing the Victorian bit that I particularly wanted to view. This is annoying but at least gives me an excuse to go back…

Back on Commercial Street again – it looks like someone’s done the Ten Bells up a bit, doesn’t it? That stonework looks brand new and there’s an awning too. I actually got a bit enraged when I spotted this – ‘How dare they improve my pub?!’ I demanded, which is a bit weird of me so I do apologise. I’ve taken dozens of photographs of the Ten Bells over the years so will have to do a comparison, which I won’t share with you so don’t worry. I’m not THAT mad. Yet.

The main tower thing at Canary Wharf, as seen from below so you can’t see the pyramid or flashing light on top. We decided to stay in the Docklands, which was a bit of a left field decision but I thought it would be fun for some reason. Google maps convinced us that we were close to Canary Wharf so we gamely set out for a bit of a wander only to get hopelessly lost in that embarrassing way that always seems to occur when one is looking for a very tall building.

Anyway, after much woe, we finally got to Canary Wharf, which was just as vilely soulless and rather depressing as we expected it to be…

View across to Canary Wharf the next morning – this has a pleasantly sixties feel to it, I think.

The Natural History Museum in the early morning. Stupidly, we failed to check their website before setting out and so our promises of dinosaurs were actually LIES as the dinosaur bit (the only bit worth seeing in my opinion) is closed until the end of the month.

Still, we gamely queued up to get in, which led to an altercation at the door when a Polish family attempted a blatant queue jump and my husband decided to very un-Britishly shout at them about their lack of manners – earning himself a raised middle digit from the mother.

Inside the Natural History Museum – the architecture of the building is far more impressive than the displays. When I was fourteen I once worked as a waitress at a function here, which was a lot of fun – except for some posh git who tried to get me to come back to his flat to do heaven knows what.

D took the boys off to the Science Museum, which they loved, while I headed off to the Victoria and Albert Museum, which I loathe with a passion but have been nonetheless persevering with since my teens because I worry that not liking it means that I am some sort of uncultured oaf. Maybe I am? I just find it a really depressing and frustrating experience as they have such amazing things there but the displays are tediously laid out, the attendants are at best arrogant and at worst rude and the whole thing is a confusingly laid out and iniquitous maze, in which not even the staff seem able to adequately give directions to where you want to be.

Not that it made a blind bit of notice yesterday as every single bit that I wanted to visit was either closed by a power failure or shut for refurbishment or I just couldn’t find it.

You are allowed take photographs (without flash!) in most of the Museum except the jewellery bit. However, I had forgotten this but a vague memory that this perhaps was the case lingered on when I visited yesterday – however, I couldn’t find any notice telling me not to take photographs (I was feeling pretty harassed and annoyed by this point though so probably totally missed it due to sheer fury) and when I went inside everyone else seemed to be blithely skipping about taking photos (some with frankly enormous cameras) so I followed suit.

However, I was soon disabused of this notion by a snarky attendant. I debated not posting any of the photos here as they are clearly contraband, however the V&A annoyed me so much yesterday that TO HELL WITH IT, here’s the last one I took. I intend never going back again anyway…

After all this, I decided a nice relaxing walk was in order and so while D took the boys off to the Doctor Who Experience (which was fabulous, just in case you were wondering), I strolled along to Kensington Palace for my appointment with the curator of the Ceremonial Dress Collection – which I will be posting about at great length this week, but prepare to be amazed…

Imagine my surprise when I arrived at the palace to be greeted by a scene that seemed straight out of 1997. This particular display was in ‘honour’ of what would have been Princess Diana’s fiftieth birthday on the 1st of July and is apparently all down to one man, who is one of the last standing gate decorators. I had a chat with one of the Kensington Palace staff while there and was told that there used to be two warring factions of Diana fans who decorated the gate with (occasionally slanderous and swiftly removed) slogans, banners and pictures. However, they’ve noticed a dropping off in the amount of stuff attached to the gates now and expect it to stop altogether at some point. Apparently it’s left up for a week then discreetly removed with everything being recycled.

I had a quick look through the Enchanted Palace visitor’s book inside Kensington Palace and was rather amused to find an entry by an Antipodean visitor who angrily scrawled that there wasn’t enough about ‘the ONLY princess DIANA‘ so there you go…

What would she have made of this, I wonder?

Anyway, I hope you liked this – full posts on Dennis Severs’ House and the Royal Ceremonial Dress collection to follow! Also coming up this busy busy month – my first ever press event (and probably my last) for the Dressing the Stars Exhibition at the Fashion Museum, another visit to the Bath Fashion Museum study area to feel up some nineteenth century evening dresses CSI style, a day spent as a 1930s housewife (gosh golly crikey) and Camp Bestival again.

 

Ps. We’d better get a Whole Foods in Bristol at some point – we visited the one on Kensington High Street before coming home to get burritos from their burrito bar and I’m in love! So much vegan goodness!

The Queen’s coronation dress, 2nd June 1953

2 Jun

Today marks the anniversary of Queen Elizabeth II’s coronation on the 2nd of June 1953 so what better way to commemorate such a momentous occasion than a look at the all important dress that the Queen wore on her big day. After all, unless you lived back in the sixteenth century, coronations are far rarer than Royal weddings…

The Queen’s coronation dress was commissioned in October 1952 and took eight long finger numbing months to create. The actual design stage took a long time as Norman Hartnell submitted eight designs to Elizabeth, starting with a simple white satin dress based on the one worn by Queen Victoria at her coronation in 1837 and moving on through progressively more elaborate designs, all encrusted with crystals and covered with symbolic references until finally the eighth got a tacit nod of agreement.

Elizabeth, who had a very clear idea of what suited her and how she wanted to look had stipulated that her gown should be white satin and also follow the same elegant lines as her wedding gown in 1947 but not be too exaggerated in shape – regal but classic was the brief. Hartnell then went off and studied the history of the coronation gown, determined that Elizabeth’s dress should be of both historic and sartorial significance as well as being his masterpiece.

The design that was finally chosen incorporated all of the floral symbols of Great Britain and the Commonwealth and was originally conceived of in pure virginal white, however Elizabeth decided that this was not altogether appropriate for a married mother of two small children and stipulated that the embroidery should be coloured. This was, after all, to be her wedding dress to the nation.

In the end, the dress was decorated with pale pink Tudor roses (England); pale green leeks (Wales); green and silver shamrocks (Ireland); pale purple and amethyst thistles (Scotland); green and gold maple leaves (Canada); mimosa yellow wattle flowers (Australia); silver and green ferns (New Zealand); pink and silver proteas (South Africa) ; golden wheat (Pakistan) and mother of pearl and opal lotus flowers (India and Ceylon). All of this was embellished with a plethora of crystals, pearls and sequins so that the dress shimmered and glistened in the most magical manner whenever the Queen moved.

There was even an extra shamrock for luck embroidered on the left side of the skirt.

As can be imagined such an elaborate and opulent gown took several hours to create and was made by a team of three dressmakers and six embroideresses who worked in secret for nine weeks (9,000 sewing hours! Ouch!) before the dress was finally delivered by Hartnell three days before the coronation. The Queen was thrilled by the seed pearl and crystal encrusted creation and remarked that it was ‘glorious’ when she tried it on for the first time.

For much of the actual coronation ceremony, the gown was hidden by a ceremonial gown called the Colobium sindonis robe, which was also designed by Hartnell and was a simple sunburst pleated white linen dress. It was utterly devoid of all embellishment and is meant to symbolise the monarch’s rejection of worldly vanity as they stand before God to be anointed. I’ve always thought this to be a particularly beautiful garment, with very elegant, almost classical lines.

The Queen looked amazing in her dress, but it seems that a certain amount of practice went into looking that good! Elizabeth and her six maids of honour spent a lot of time rehearsing dealing with the long purple velvet train that was designed to be worn with her dress. The fabulous Imperial crown that she was to wear for much of the coronation day was also brought to her at Buckingham Palace so that she could get used to its weight and size by wearing it around the house as it were for the day. The pearls hanging from the centre of the Imperial crown are said to come from Elizabeth I’s earrings!

No detail was left to chance – models with the same colouring as the Queen were hired to try out different make up to find a look that would be equally suitable in the carriage journey and under the harsh lights of the Abbey. Elizabeth’s red lipstick was also carefully chosen so that it didn’t clash with her rich purple velvet train. Beneath her gorgeous dress she wore Roger Vivier gold leather shoes with garnet studded heels, an echo of the red heeled shoes worn by courtiers at Versailles.

Flower fans like my chum Rachael from Tales from the Village may like to know that the glorious bouquet that the Queen carried with her in the carriage on her way to the coronation included orchids, lily of the valley, stephanotis and carnations.

The amazing diamond necklace and earrings that Elizabeth wore on her coronation day were made in 1858 for Queen Victoria and were also worn by Queens Alexandra, Mary and Elizabeth (the consort of George VI) at their coronations. The necklace is made from twenty nine collet diamonds from an old Garter badge and state sword, with the 22.48 carat Lahore Diamond as its central drop pendant. It’s going to be on display next year as part of the Queen’s Diamond Jubilee celebrations – can’t wait to see it!

The Queen wore a diamond diadem made for the 1820 coronation of George IV on the way to Westminster Abbey. It has 1,333 diamonds in the design and is encircled by 169 pearls. It’s rather nice isn’t it?

Elizabeth II’s Paris dress

30 May

It often feels like the Queen has been an older lady (this is me at my most tactful) for literally as long as I can remember, so I thought it would be nice to have a look at this rather lovely Norman Hartnell dress that Her Majesty wore on a state visit to Paris in 1957.

Remember the dress that Queen Victoria wore in Paris that I posted a couple of days ago? Well, I don’t think the pressure to look as elegant as possible when on show in the French capital had abated one whit over the course of a century! I think the Queen probably looked amazing in this gorgeous gown, which is rather poetically called ‘The Flowers of the Fields of France’ – what do you think?

 

Lavish gold and white beadwork encrusts this ivory evening dress worn by Queen Elizabeth II on a state visit to Paris in 1957. The dazzling, jewel-like details of the embroidered design include miniature bees, grasses, wheat and wild flowers. These motifs are worked in relief in faceted glass, gold beads, brilliants and variously shaped pearls, mother-of-pearl and gold petals. It also features an extravagant back bow. The design of this single-occasion gown diplomatically refers to French motifs, including the flowers of France and large gold bees, the emblem of Napoleon. It was intended to both compliment the French nation and draw attention to the Queen.’ — Victoria and Albert Museum description.

This dress was worn on the Queen’s first night in Paris, the 8th of April 1957, when she attended a state banquet at the Elysée Palace then went to the opera and must have been a dazzling sight!

The dress was worn with a necklace (of 4 stones with centre drop jewel) and small earrings, a tiara, and long white evening gloves adorned with a bracelet (or small watch) on the left wrist. The Queen also wore the jewelled Badge of the Legion d’Honneur and sash from her right shoulder to her waist (left). She also carried a small white handbag and wore a white fur stole for travelling.’ — Victoria and Albert Museum.

 

A teeny tiny dress worn by Queen Victoria

24 May

This rather lovely gown in the collection of the Museum of London was worn by Queen Victoria in 1855 on her state visit to Napoleon III and Empress Eugènie in Paris. The Empress and the ladies of her court were probably dressed up to the nines in the finest creations of the legendary House of Worth, so Queen Victoria no doubt felt some pressure to look her very best!

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