The Queen: 70 years of Majestic Style E-Book

Bethan Holt

• Herausgeber: Ryland Peters & Small
• Kategorie: Sachliteratur, Reportagen, Biografien
• Sprache: Englisch
• Veröffentlichungsjahr: 2022

Seitenzahl: 206

Beschreibung

The past 70 years have seen a 25-year-old Princess transform into a nonagenarian monarch who is respected and loved the world over. A woman whose views are never heard, Queen Elizabeth II has deployed fashion as a means to communicate and signal her position to the crowds who gather to see her in public and the millions who watch her television broadcasts: 'I must be seen to be believed,' she has said. The Queen's evolving attitude to dress reflects a visual landscape that began as genteel reportage in mostly black and white and has over the years evolved into today's technicolour 24/7 news cycle, flashed around the world in seconds and driven by social media. Incredibly, in her 70th year as monarch, the Queen feels as relevant as ever before – and she is, undoubtedly, a style icon. The Queen: 70 Years of Majestic Style celebrates the fashion evolution of Elizabeth II in her unprecedented Platinum Jubilee year.

Leseprobe

THE QUEEN

THE QUEEN

70 YEARS OF MAJESTIC STYLE

BETHAN HOLT

Senior designer Toni Kay

Senior commissioning editor Annabel Morgan

Head of production Patricia Harrington

Art director Leslie Harrington

Publisher Cindy Richards

First published in 2022 by

Ryland Peters & Small

20–21 Jockey’s Fields,

London WC1R 4BW

and

341 East 116th Street

New York, NY 10029

www.rylandpeters.com

Text copyright © Bethan Holt 2022

Design copyright © Ryland Peters & Small 2022

Photographs copyright © Getty Images

10 9 8 7 6 5 4 3 2 1

ISBN: 978-1-78879-427-5

eISBN: 978-1-78879-460-2

The author’s moral rights have been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher.

A CIP record for this book is available from the British Library.

Library of Congress CIP data has been applied for.

Printed and bound in China

CONTENTS

Introduction

From Princess to Queen

Finding a uniform

The Queen on tour

The Queen’s year

Milestone moments

The designers and dressers

Majestic glamour

The Queen of colour

The off-duty Queen

The accessories

The Queen’s jewels

The Queen as muse

Index

Picture credits

Acknowledgments

Her Majesty wearing her classic brooch and triple-strand pearl necklace on a visit to Sweden, June 1956.

Queen Elizabeth ll at Sandringham with her corgies, 1960s.

INTRODUCTION

The importance of the Queen’s faultlessly appropriate style was crystallized within hours of her accession to the throne. Having flown back from a trip to Kenya in the wake of her father’s death, the 25-year-old new sovereign waited inside the aircraft on the runway at London Airport while a black outfit was brought for her to change into before she was photographed for the first time as Queen Elizabeth II. Pinned to her left lapel as she descended the steps of the plane was her flame lily brooch, given to her during a tour to southern Africa with her parents and sister five years before – a small detail representing happy memories at a time of tragedy.

It is in this impeccable, considered vein that Her Majesty has continued for the last 70 years, the longest reign of any British monarch. The second Elizabethan age has seen the way women dress change almost beyond recognition – in the early 1950s, they rarely left the house without a hat and gloves, whereas now leisurewear and trainers can be the height of fashion. Trends for miniskirts, boob tubes, flares and power shoulders have come, gone, come back and gone again. The way fashion is consumed has changed, too, from genteel salon shows and homemade dresses to social media spectacles and shopping at the tap of a mobile phone screen.

Through it all, Elizabeth II’s style has been an extension of all she represents as Queen; it is stoical and cautious yet dazzling and majestic. Five days after she ascended the throne, Prime Minister Winston Churchill called her ‘a fair and youthful figure… the heir to all our traditions and glories’. It is testament to her success that, in her nineties, she is as revered for her singular style as she was adored for her beauty and youth in her twenties. No matter what is happening in the world, we can be sure that Elizabeth II will be there in her vibrant coat, her heirloom brooches and carrying her sturdy Launer handbag.

In 2016, in the year of her 90th birthday, the Queen received a special citation in Vanity Fair magazine’s International Best-Dressed List. ‘She has consistently represented who she is and what she stands for, without wavering from a standard she set a long time ago,’ said Amy Fine Collins, the list’s gatekeeper. ‘Politics, culture, and class structure in the empire – all of that shifts constantly, but she doesn’t. She’s a beacon.’

In the past seven decades, it’s estimated that Elizabeth II has worn more than 10,000 outfits, honing a clothing strategy that can see her semaphore respect, diplomatic flattery, elegance, gratitude, regal glamour and much more with what she chooses to wear.

At a polo match at Windsor Great Park, June 1976.

And it’s important to stress that choice – she is no star powered by an overbearing stylist. ‘The Queen has a fantastic understanding of clothes and fashion, and is very aware of what suits her and what would be appropriate for the occasion,’ her current dresser Angela Kelly has said. Hardy Amies, who designed for the Queen from the 1950s until the 1990s, emphasized that, ‘I do not dress the Queen. The Queen dresses herself. We supply her with clothes – there is a difference’.

Rather than dismissing clothing as frivolous, Her Majesty knows just how much appearance counts. ‘The Queen has a mind of her own. Just as she fell in love as a teenager and made a clear choice about who she wanted to marry, so she has decided how she should look,’ says Justine Picardie, the author of Miss Dior and former editor-in-chief of Harper’s Bazaar.

The Queen’s image may be indisputably iconic now, but it is a style evolution that has not been without its challenges. The way she is seen by her subjects has been revolutionized from the black and white newsreels of post-war Britain and a generally deferential media to the technicolour 24/7 online news cycle that now exists, fuelled by tabloid outlets and technology that flashes an image or news line around the globe in seconds.

‘The Queen must always present a perfect figure at all times – quite a high standard for any fabric and design to achieve,’ Angela Kelly has said – a philosophy that she has evidently always sought to uphold but which must have extra urgency in today’s media landscape.

Elizabeth II has grown from beautiful young woman to nonagenarian before the world’s eyes, becoming a mother, grandmother and great-grandmother, and facing both joy and tragedy under that microscopic gaze. Reviews have not always been as glowing or respectful as they tend to be today, when most of us are in awe of the Queen’s continuing dedication to duty.

One of her favoured designers, Ian Thomas, said that ‘the Queen once told me she’s no model girl and she doesn’t want clothes to pose in’, yet it must have been some ignominy to be accused of looking ‘dowdy and tired’ with ‘visible veins’ on her legs, as she was on one visit to Canada in her middle age. Who knows how Her Majesty took such criticism in private, but in public she has always seemed as keen to simply get on with the job when she’s at her lowest publicity ebb as when she’s at her most adored.

Naturally, the sovereign’s style has evolved, with the subtlest of nods to changing fashion mores. There are outfits that she might rather forget but, overwhelmingly, as she prepares to mark her unprecedented Platinum Jubilee, there is no one in the world to rival her flawless, idiosyncratic look.

Genevieve James, who now runs her mother Cornelia James’s eponymous glove makers, which has provided gloves for the Queen throughout her reign, describes the breathtaking impact that a meeting with the monarch at a Buckingham Palace fair for Royal Warrant holders had upon her: ‘Everything went hush. I looked up and saw this small but rather alluring figure in the doorway. I realized that we were quite near the front and she was heading in our direction. She approached me, I bowed and said, “Your Majesty, I’m your glove maker.” She laughed and said, “I know exactly who you are.” The whole world fell away in front of me. She was wearing a beautiful bright green suit and she had fantastic skin; she was just sparkling. She’s quite small in stature but she makes up for it; she’s such a presence.’

That’s the magic of Queen Elizabeth II.

The Queen and Duke of Edinburgh arrive at Baldonnel Airport, Dublin for a State Visit to Ireland, 2011.

from princess TO QUEEN

When Princess Elizabeth Alexandra Mary of York was born on 21 April 1926, she was the first granddaughter of George V and a royal baby whose arrival was a cause for jubilation. Her grandmother Queen Mary wrote in her diary that Elizabeth’s birth was ‘such a relief and joy’, describing her as ‘a little darling with lovely complexion and pretty fair hair’.

There was every chance, then, that her father’s elder brother and heir to the throne, Prince Edward, would go on to marry and have children of his own, and that Princess Elizabeth would be afforded a life of relative obscurity, perhaps as the horse-loving countrywoman so many perceive now as the ‘real’ Elizabeth. But the press knew all too well what might lie ahead; ‘Queen of Hearts To-day, She may one day be Queen of England,’ read the Pathé newsreel announcing her arrival, and when her parents visited Australia in the year after her birth, she was was declared ‘the world’s best-known baby’, such was the feverish interest in the Duke and Duchess of York’s daughter.

Even when she was tiny, Elizabeth’s wardrobe was a topic of national fascination. It was revealed that her mother and both her grandmothers had sewn her layette themselves, with a little help from underprivileged women for whom it would have been a great honour to create clothing for an infant princess. ‘Many poor gentlewomen have profited by the Duchess’s order for fine lawn and muslin frocks, little bonnets and jackets, and all the delightful accessories of baby’s toilet,’ read one report.

Meanwhile, the Duchess found herself at the centre of a debate about whether babies should be dressed in cotton or wool. Her own stance was clear; she declared that babies in wool looked like ‘little gnomes’ and that her own preference was for ‘frilly babies’ dressed in cotton. She set an example by rejecting anything too fussy, opting to dress her daughter, who soon took on the nickname Lilibet, in simple, sensible clothing rather than anything overly ornamental.

Princess Elizabeth, the future Queen Elizabeth II, photographed by Cecil Beaton, London 1945.

This stoical yet conscious attitude is one that would go on to shape Elizabeth’s approach to style. In her controversial memoir, The Little Princesses, governess Marion Crawford observed an early lack of interest in clothing from the future Queen: ‘Lilibet never cared a fig. She wore what she was told without argument, apart from a long, drab mackintosh that she loathed.’

H.R.H. The Duchess of York with her daughter Princess Elizabeth in June 1927.

On 21 August 1930, Elizabeth’s younger sister Princess Margaret was born and the close-knit York family was complete, famously calling themselves ‘us four’. Despite a four-year age gap and the possibility of very different destinies, the sisters were soon declared trendsetters with their matching outfits, a deliberate strategy enacted by their parents to maintain as much normality and equality between their daughters as possible.

Photographs taken when Margaret was still a toddler show the girls in coordinating lace dresses and smart woollen riding coats. As they grew older, their outfits diversified into ruffle-trimmed floral frocks and kilt skirts with cardigans, a nod to their mother’s Scottish heritage (see page 5). In 1932, social commentator Sylvia Mayfair declared that the Duchess of York was setting ‘a Royal fashion lead that will undoubtedly be followed by many mothers’. Mayfair reported that she had spotted the ‘two little princesses… driving in the park’ where ‘they were dressed in exactly similar raspberry sage coats with bonnets trimmed with rosebuds while neither wore gloves’.

The matching outfits were undoubtedly adorable and did their job of portraying Elizabeth and Margaret as two princesses in a pod. The historian Ben Pimlott described this time in their lives as a ‘half royal existence’. But there could soon be no more pretending that the sisters were to come as a matchy-matchy pair forever, although the pretence of their coordinated outfits would continue well into their teens.

In January 1936, George V died and Edward VIII, Elizabeth’s unmarried uncle, ascended the throne. The monarchy was thrown into crisis as Edward wrestled with an unsolvable dilemma – he must choose between his lover, the sharply chic, twice-divorced American socialite Wallis Simpson, and his duties as king. It was constitutionally impossible for the two to coexist.

In her book The Royal Jewels, Suzy Menkes describes the gulf between Wallis and the Duchess of York that was coming to represent the two sides of the crisis, and was as apparent in aesthetics as attitudes. ‘As Mrs Simpson’s blazing emeralds and rubies fuelled society gossip, the Duchess of York stuck discreetly to her strings of pearls and her domestic life,’ Menkes writes, describing how the chintzy cosiness of the Yorks’ home contrasted with the ‘brittle sophistication’ of Wallis’s apartment.

On 11 December 1936, the King announced his abdication. ‘I have found it impossible to carry the heavy burden of responsibility and to discharge my duties as king as I would wish to do without the help and support of the woman I love,’ he told his subjects. Edward and Wallis became the Duke and Duchess of Windsor and were sent into exile in France. She was barred from using the styling of ‘Her Royal Highness’, although some would continue to address her in that way, including Nazi politicians during the couple’s visit to Germany in 1937.

Edward’s decision altered the course of the Yorks’ life. The shy, nervous Duke became King George VI and Princess Elizabeth was now heiress presumptive; unless her parents produced a male heir, she would one day be Queen. The new King and his Queen Consort were now not only ruling over the United Kingdom, the Commonwealth and India, but they were also on a mission to return to the monarchy the reputation for stability, continuity and history that it had upheld since the reign of Queen Victoria until it was rocked by the abdication. In this mission, image was everything.

‘The fashion context is so important after the disaster to the Crown of Wallis and Edward. The Windsors were held up as the epitome of chic by fashionable people, but in their traditional, matching outfits, Elizabeth and Margaret were their sartorial antidote,’ says Justine Picardie.

The coronation of George VI and Elizabeth as King and Queen was the first opportunity that the new Royal family had to underscore their reliability and a particular brand of soft glamour that embodied history and regal grandeur. It was the King as much as his Queen Consort who understood this need to create a new perception of the Royal family. In his biography of the couturier Norman Hartnell – who would come to play a vital role in shaping the looks of Queen Elizabeth and later her daughter, Queen Elizabeth II – Michael Pick describes just how the designer was helped in his preparation for creating the coronation dresses for the Queen’s maids of honour by the King as much as the Queen.

The British Royal family in their coronation robes at Buckingham Palace after the coronation of King George VI on 12 May 1937.

‘The design of the Maids of Honours’ dresses was discussed by both the King and the Queen with Norman, after they had together examined the painting The Coronation of Queen Victoria by Sir George Hayter and the King pointed out the headdresses of gilded wheat worn by the train-bearer,’ writes Pick.

That afternoon, the King took Hartnell on a tour of the picture gallery and state apartments where they viewed ‘paintings by Winterhalter, who endowed his women… with such regal and elegant grace… His Majesty made it clear in his quiet way that I should attempt to capture this picturesque grace in the dresses I was to design for the Queen,’ Hartnell later recalled.

Although the honour of creating the Queen’s coronation gown had gone to her long-time dressmaker Madame Handley-Seymour, it was evident that Hartnell had been chosen as the man to dress the family as they emerged onto the world stage. It was rumoured that the Queen had ordered up to 40 dresses from his coronation collection. She also entrusted the design of dresses for Princesses Elizabeth and Margaret, by then 11 and six years old, to Hartnell.

After the tumult of the previous year, the vision of the dignified new King, his bejewelled Queen in her dress embroidered with floral symbols of the nations over which they now reigned and their two adorable daughters in their bow-adorned dresses and little cloaks signalled a return to the calm dependability of the monarchy. This sense of steadiness was to become more cherished than ever as war loomed in Europe.

In 1938, a tour to France was planned to establish the new King and Queen on the Continent. It was a visit with a three-pronged strategy: to introduce the new monarch and his consort, to cement the ties between France and Great Britain as the Nazis’ ambitions to expand the German Empire became ever more urgent, and to subtly but surely remind everyone who the real royals were, as Edward and Wallis were making connections with some of the most influential people in French society. This was a charm offensive of the highest order.

‘In addressing the Queen’s image during his consultations, [Hartnell] now stressed both her soft femininity and small features; anything but the Parisian chic of Mrs Simpson,’ writes Pick. The designer had been enlisted to create a wardrobe to wow the French for Queen Elizabeth, but just weeks before the tour, her mother died and the court was plunged into mourning. It was neither appropriate for the Queen Consort to wear black for the tour nor for it to be cancelled.

Hartnell looked to the history books for a solution. Taking inspiration from the medieval concept of deuil blanc, or white mourning, he remade all his creations in white. The couturier had remembered the viewing of the Winterhalter portraits that the King had given him the previous year, designing a series of gowns that revived the romance and femininity of the 19th-century crinoline. The reception of the Queen’s wardrobe was rapturous; she was declared a fashion muse at home and abroad, rehabilitating her once-dowdy reputation. This twinkly, soft-as-marshmallow style would form the basis of the Queen’s look for the rest of her life – and inspire her eldest daughter’s attitude to clothing when she later began dressing for her own reign.

When war broke out in 1939, Princess Elizabeth and her sister were evacuated to Windsor Castle, while their parents mostly stayed in London, carrying out engagements to boost morale wherever they could. The family were careful not to seem ostentatious, surviving like everyone else on the rations they were allocated, but the Queen made an effort to dress in light, uplifting colours that signalled sympathy and optimism, another strategy Elizabeth would one day incorporate into her own wardrobe decisions.

At this point, Elizabeth and Margaret were still wearing matching outfits and the public’s appetite for pictures of them was immense – and not only in Britain. In 1940, Queen magazine issued a plea for new photographs of the sisters: ‘What the French women would like now are portraits of Princess Elizabeth and Princess Margaret, of whom they have heard so much… We have seen very little of the Princesses for such a long time that new pictures of them would be very much appreciated by everybody.’

Princess Elizabeth and her younger sister Princess Margaret Rose photographed by Lisa Sheridan at Windsor Castle in June 1940. With them is pet corgi Jane.

Since the girls were small, their mother had chosen the photographer Lisa Sheridan to take occasional portraits of them. When Sheridan first encountered Princess Elizabeth, she described `her pretty doll-like face… framed in soft silky curls’. Much like the carefully choreographed pictures we see of Prince George, Princess Charlotte and Prince Louis today, these images gave people a glimpse of the royal children, but on the family’s own terms. They were, in fact, a crucial tool in constructing a view of the Royal family as aspirational yet relatable and in touch.

A photograph taken by Sheridan at Windsor in June 1940 probably conjured everything the frightened nation needed to see from their little princesses; the girls look immaculately turned out in their pretty patterned frocks (matching, of course) with frilly Peter Pan collars and sensible Mary Jane shoes. While Princess Margaret plays with their corgi Jane, Elizabeth is engrossed in a book. There were few hints at the elder sister’s impending womanhood, although for her 12th birthday, her mother had given her her first pair of silk stockings.

Just months after the Windsor picture, the Blitz began and the true ramifications of war became even more apparent. Although they were mostly closeted away, there were hints at the princesses’ own contributions to the war effort and awareness of their own privilege; there were accounts of Elizabeth giving an old coat to an evacuee she met while on holiday in Scotland.

Princess Elizabeth and Princess Margaret photographed by Dorothy Wilding in 1946.

It was the young teenager’s equivalent of her mother’s admission in September 1940 after Buckingham Palace had been hit by the Germans that she was ‘glad we have been bombed. It makes me feel I can look the East End in the face.’ A month later, Princess Elizabeth made her first radio broadcast on Children’s Hour, offering her encouragement to her fellow evacuees. ‘We are trying to do all we can to help our gallant sailors, soldiers and airmen, and we are trying, too, to bear our own share of the danger and sadness of war. We know, every one of us, that in the end all will be well,’ she said.

Towards the end of the war, Elizabeth, now 18, began to carry out more public engagements, attracting adoration wherever she went. In early 1945, the future Queen made an even more practical contribution, joining the Auxiliary Territorial Service and training as a mechanic, perhaps the only time in her life when she would routinely wear trousers and boiler suits.

Soon it was back to princess mode, however, as photographer Cecil Beaton – who had captured the Queen wearing her sparkling Norman Hartnell gowns in all their glory at Buckingham Palace before the war – was commissioned to take new portraits of Elizabeth (see page 11).

Beaton’s recollection of preparation for the sitting reveals the thrifty attitude of the Royal family. ‘I was bidden to the Palace to see the Princess’s dresses, which were hung for display around the walls of her room,’ he wrote. ‘The most successful was the pink spangled crinoline that was one of her mother’s pre-war dresses, now altered to fit the daughter.’ For the first time, Elizabeth was shown as a glamorous young princess. Her journey to mastering the finer points of majestic style had begun.

Princess Elizabeth speaks on the occasion of her 21st birthday on the 21 April 1947.

In October 1946, Princess Elizabeth and Princess Margaret arrived at Romsey Abbey in Hampshire to act as bridesmaids for their third cousin, Patricia Mountbatten. When they entered the church, Elizabeth shrugged off her fur coat and handed it to the dashing naval officer usher, Philip Mountbatten, the bride’s cousin. ‘This small act jump-started a media frenzy, thanks to an air of ease and understanding between the pair,’ Lady Pamela Hicks, Patricia’s younger sister and later a lady-in-waiting to Queen Elizabeth II, remembered on her daughter India Hicks’ podcast.

This was the first public hint of a love match that had been blossoming since Elizabeth had first met Philip on a visit to the Royal Naval College at Dartmouth when she was 13 years old. And despite the hopes of courtiers that the future Queen might fall for a rich Duke, it was the exiled and impoverished Prince of Greece and Denmark who stole the Princess’s heart. And it was soon a matter of not if but when the couple would marry.

Elizabeth and Philip were persuaded to wait until after she had turned 21 to announce their engagement. Before that, ‘us four’ undertook a tour together to southern Africa, during which the Princess would celebrate her milestone birthday. Ahead of the family’s departure, Queen Mary gave her granddaughter a pair of diamond and pearl earrings that she had herself inherited in 1897 (see page 161); the Princess would go on to wear them at her wedding 11 months later, but they were also a sign of the influence that the widowed Queen exerted on her son’s heir.