PRINCESS’S WEDDING DRESS

Press, Volume LXXXIII, Issue 25346, 20 November 1947, Page 2

PRINCESS’S WEDDING DRESS

NEWS FOR WOMEN

Full Description of Exquisite Gown (Specially Written lor "The Press ”) [By PATRICIA TAYLOR.] LONDON, November 20. To-day will reveal to the thousands of women who line Princess Elizabeth’s wedding route the closely-guarded secret of her fabulous gown. And “fabulous” is the right word for this exquisite frock, which gives conclusive proof that British materials and craftsmanship can still beat the world when the occasion demands. For the Hartnell-designed gown of ivpry duchesse satin, cut on classic lines, with fitted bodice, long, tight sleeves and full, falling skirt is a creation about which even a fairy-tale princess might dream; no matter what ’function Elizabeth attends in later years when she ascends the ThrOne, she will never wear a lovelier gown than her wedding frock.

The broad, heart-shaped neckline of the bodice is delicately embroidered with seed pearls and crystal in a floral design. From the pointed waistline, formed by a girdle of pearlembroidered star flowers, the swirling skirt is gloriously hand-embroidered in an exquisite design inspired by the paintings of Botticelli, representing garlands of white York roses,, carried out in raised pearls entwined with ears of corn which are minutely embroidered in crystals and oat-shaped pearls. Pearls and Crystal Alternating between the garlands of roses and wheat, and forming a final border round the entire hem of the skirt, are bands of orange blossom and star flowers. These are appliqued with transparent tulle, bordered by seed pearls and crystal. Only the long pointed sleeves are free of embroidery—a touch of couturier designing genius—so that the wedding bouquet

will lie classically in the curve of their richly gleaming smoothness. There are 11 yards of satin in the frock.

A full Court train, 15ft long, of transparent ivory silk tulle attached to the shoulders, is edged with graduated satin flowers, which finally form into a deep border at the end of the fan-shaped train. The same type of embroidery as is employed on the wedding gown is here used in reverse by the use of applique satin star flowers, roses and wheat, further encrusted with pearl and crystal embroideries.

An ethereal voluminous bridal veil of crisp white tulle is held by a tiara of pearls and diamonds, to fall in seven cascading tiers to ground level. The wedding shoes exactly match the frock—ivory duchesse satin selflined sandals, with reverse folds on the high instep strap and across the front. The open toe, back and side effect, is finished off with a silver buckle studded with small pearls.. Three Fittings Princess Elizabeth had three halfhour fittings only for her wedding frock. A Hartnell representative told me: “She is very patient and most helpful at all her fittings.” Six people only saw the actual completed frock before to-day. Apart from Mr Norman Hartnell himself, his chief fitter and the vendeuse, they were Her Majesty the Queen, Princess Margaret, and, of course Princess Elizabeth. The King will see it for the first time to-day when he meets his lovely daughter—a shy but happy and excited bride—to escort her to the altar at Westminster Abbey. At Mr Hartnell’s exclusive Bruton street (Mayfair) establishment, fashion writers of the world’s press were just shown spot-lighted coloured sketches of the wedding outfits, and samples of the really breath-taking applique embroidery. It was at Princess Elizabeth’s express wish that the details of the frock were so closely guarded, although it would be impossible to copy a gown like this at less than £lOOO. All of Mrs Hartnell’s 300 employees had some small part in the making, which will give some idea of the cost of workmanship alone—apart from Materials and the designer’s fee. For her going away ensemble Princess Elizabeth has chosen a simple dress of love-in-the-mist blue crepe, with cross-over bodice draped to the left hip, where a small bow holds

securely the three inset panels at the left side of the skirt. The sleeves are loose three-quarter length. Her travelling coat of love-in-the-mist ’ blue velour cloth with soft revers has the season’s new rounded shoulders which continue into wide, comfortable sleeves, with deep armholes. Inset bands across the coat front are held with three buttons as far as the waist, where the gentlyflared skirt gives the required fullness. The coat .is cut ’to modern mid-calf length. The going-away hat is a high bon- . net beret model (much favoured by the Princess in her latest millinery purchases). In mist-blue felt, it is trimmed with a large ostrich pompom and curved quills in two tones of blue. . Elasticised mushroom beige suede is used for the shoes which go with this outfit. A step-in size 5 model with a curving vamp whicji. cut low at the outside, sweeps high over the instep, to

the inside of the shoe, it is finely perforated in front. Handbag and gloves tone with the shoes. Incidentally, this combination of blue ensemble and mushroom-beige accessories is'quite a new and unusual colour scheme. And, now that it has been launched by Royalty, women everywhere will be quick to follow suit. Bridesmaids’ Dresses

The lovely, diaphanous bridesmaids’ dresses of ivory .silk tulle over ivory satin were inspired by the pictures of Winterhalter, Tuxeri, and Sir George Hayter at Buckingham Palace. Each tight-fitting bodice of gathered tulle is shirred down the centre front. The shoulders are swathed with a deep fichu of pearl-spotted tulle bordered with a delicate trail of applique white satin syringa; a big satin bow secures the fichu to the bodice top. Bouffant Victorian skirts of billowing tulle are scattered with clusters of crystal and pearl-edged syringa flowers in applique satin, embroidered to repeat the effect of the embroidery on the bridal train.

Ivory satin is also used for the bridesmaids’ ankle-strap sandals, which have narrow, interlaced satin stripping piped with silver kid, and fitted with small pearl-studded buckles. Eighty yards of tulle went into the making of each of the eight bridesmaids’ dresses. I hear that Princess Margaret, who loves beautiful clothes as much as any girl anywhere in the world, thinks her frock is “just right Jor a fairy-tale Princess.” And she is absolutely awed by her sister’s wonderful gown. The whole wedding group to-day makes a picture that will be a glorious sight to see in these austerityridden times of ours. It is a pity that the newsreel pictures will not be able to do justice to the lovely materials and unbelievably delicate ’ workmanship which has gone into the creation of the gowns. There is a suggestion that Princess Elizabeth’s wedding gown may be sent overseas so that women in the Dominions and America can view this dress of the century. And I sincerely hope that New Zealand women will have a chance to see this Hartnell masterpiece which, in spite of to-day’s conditions, must surely be one of the loveliest frocks ever fashioned for a Royal bride.

Illustrations of Princess Elizabeth’s wedding dress, and of the bridesmaids’ dresses, -are printed on page 3.