Hats off to you Ma’am! : Unpacking the Royal wardrobe.
A symbol of tradition and steadfastness; an icon of trend and style.
In these sombre times where we as a country feel a collective sorrow at the end of an era in our lives, we like a moth to a flame are drawn back to the outfits that characterised a reign laden with class; the colour she donned before us. Queen Elizabeth II’s first and foremost duty to serve her country did not progress into a sheer ignorance of fashion in lieu of service, somehow her service to her people formed an intrinsic bond with the outfits she wore. These timeless pieces were a nod to the people who looked up to her as the grandmother of the nation, her wardrobe of colour symbolised a figure who beamed in her duty at every sighting.
Looking back there never was a colour that The Queen did not suit, some might say this was due to our own idolisation or perhaps this was due to her warm character which formed a sure bond with any shade or palette. According to Royal Biographer Robert Hardman, The Queen once said: “I can never wear beige because nobody will know who I am!”.
The Queen saw many designers over the course of her 70 year reign, from Norman Hartnell who designed her wedding dress in 1947 and who shaped a young queen remembered by ornate gowns, to Angela Kelly, the fashion designer who served as Senior Dresser until The Queen’s death, carrying on the legacy of The Queen we students knew, adorned with a hat. Whatever designer The Queen consulted, it was clear that she was her own author.
While countless outfits are significant in terms of The Queen’s fashion journey through the decades, I have collated a list that I believe acts as the stock cube of her style image.
Silver Jubilee 1977. Designers: Sir Hardy Amies & Simone Mirman.
This pale pink dress and coat ensemble consisting of a silk crepe and chiffon is a benchmark in the late Queen’s iconic wardrobe. However, aside from Amies’ work, Mirman’s matching helmet hat with hanging bell-shaped flowers attached by green stems is the focus of this piece as it shows The Queen’s willingness to be innovative and simply, lively. The 70’s was a decade in which The Queen sought to diminish the ‘out of touch’ image, creating the royal walkabout. Combined with the outfit, the 70’s served as a dawn of new possibilities in both fashion and duty.
The wedding of Princess Margaret 1960. Designer: Norman Hartnell
Eight years into her reign, The Queen saw her sister Margaret wed Antony Armstrong-Jones, Earl of Snowdon and wore an elegant turquoise full-length outfit for the occasion, a key feature of Hartnell’s designs. Consisting of both a silk taffeta and tulle it is complete with guipure lace on both the dress and the bolero jacket. The ensemble diverges from previous outfits worn by The Queen and is a sublime gem within her collection.
Opening of the Scottish Parliament 1999. Designer: Sandra Murray
The Queen’s endearing and comforting love for Scotland and the Highlands meant that her death at her beloved Balmoral was a poignant moment for us Scots. Her love is perhaps no better epitomised in the thistle-inspired ensemble she wore for the very first Opening of the Scottish Parliament, marking devolution and the turning of a new page for the nation. The ensemble’s purple coat of wool silk forms the front of the piece but the accompanying Isle of Skye Tartan Shawl and Oban Brooch is a one-off attribute to a piece in which The Queen paid a distinct tribute to the Scottish people and culture
Platinum Jubilee 2022. Designers: Angela Kelly, Stewart Parvin & Rachel Trevor-Morgan
In June we were overcome with celebrations of Her Majesty’s 70-year reign, to which The Queen aided with two jubilant ensembles. The first designed by Angela Kelly, which HM wore for Trooping The Colour is a pale blue dress and coat ensemble with an intricate beaded trim, featuring a matching hat. The delicate and graceful outfit mirrored The Queen’s restful but appreciable part during the celebrations. For what was to be her last balcony appearance, The Queen bid farewell with a striking green wool-crepe dress and coat set by Stewart Parvin, with a matching hat by Rachel Trevor-Morgan. The deep-coloured outfit meant she would be more than just a hazy figure to the mass crowds that collected before her.
While we may be surrounded by the period stating ‘1926-2022’, citing the end of her services to us. One thing is sure; the style she leaves behind will never fade.
Hats off to you Ma’am, and thank you.
Image: CreativeCommons