The Royal Report for Tuesday March 1, 2011 - Royal Focus: Windsor Castle

How many royal wedding apps do you need to track the big day? Should we tweet about Kate Middleton's hips? Will Kate take Camilla's advice? How much did William the Conqueror pay to rent the site of Windsor Castle? When did Windsor Castle become a royal residence?
Find out by listening to this episode

Royal Focus: Windsor Castle

Publications discussed

Hello! Canada Weekly No 207 28 February 2011

Royal Wedding Apps

WeeMee Royal Wedding Countdown timer

Exhibition mentioned

Prince Philip - Celebrating ninety years

From My Royal Collection

Charles, Prince of Wales: A Birthday Souvenir Album (Royal Collection)

Resources used to research this episode:

The Royal Encyclopaedia

Royal Palaces of Europe by Hugh Montgomery-Massingberd

Official Site of the British Monarchy - Windsor Castle

Tune in to the next episode of The Royal Report on Sunday March 6, 2011 at 9:00PM EST (North America)

The topic will be: The Royals and the movies


© Marilyn Braun 2011

Royal Focus: The Duchess of Windsor's wedding dress

The Duchess of Windsor's wedding dress was made by American designer Mainbocher for her 1937 wedding to the Duke of Windsor.

Made of sapphire blue silk crepe, the dress was cut simply and was floor length, flaring out at the feet like a mermaids tail. Flute-draped into a heart shape at the bust it had a matching long sleeved jacket fastened with a line of covered buttons the size of shelled peas. The original color of the dress was a color that Mainbocher had created for the Duchess called 'Wallis Blue," to match the Duchess's eyes.

Her hat was a blue straw bonnet trimmed with pink and blue coq feathers by Caroline Reboux. Her pale blue crepe wrist-length gloves opened up on the ring finger of her left hand. On her feet she wore powder blue suede pumps with three-inch heels by Georgette of Paris. Although the dye on the dress has faded, the shoes and the coq feathers decorating the hat have retained their color.

On her wedding day, Wallis Warfield (she had changed back to her maiden name) wore the sapphire and diamond 'marriage contract' bracelet on her right wrist.On her left wrist she wore a diamond bracelet with Latin crosses. At the throat of her blue crepe wedding dress, she wore an art deco geometric style curving double clip with oval sapphires and radiating baguette diamonds. This brooch was made by Van Cleef in 1936.

Shortly after the wedding copies of the Duchess of Windsor's wedding dress, which reportedly cost $250, were being sold in various department stores. Like other royal brides. Even on her wedding day she was a trend-setter.

In 1950 the original dress was donated to the Metropolitan Museum of Art.

© Marilyn Braun 2011

Image of wedding dress via http://www.metmuseum.org/

Wedding day image via Wikipedia

Royal Focus: Royal Warrants

The next time you enjoy some Twinning tea or Johnnie Walker you may want to take a close look at the package. You may have seen this particular image before and not known what it means.

Since the Middle Ages, tradesmen and companies that have provided a service or goods to the Sovereign have received formal recognition through a Royal Warrant. Originally this patronage took the form of 'royal charters' granted collectively to various guilds in trades and crafts, which later became known as livery companies.

The first on record was given by Henry II in 1155 to the Weavers Company. Over the centuries, the relationship evolved between the Crown and individual tradesmen and was formalized through 'royal warrants'.  Currently, only three members of the royal family grant royal warrants - The Queen, The Duke of Edinburgh and the Prince of Wales. When she was alive, the Queen Mother also granted warrants, which were kept valid until 2007 - five years after her death. They are granted to companies that have provided services to the royal family for a minimum of five years. Upon issue, the royal warrant allows the grantee or company to use 'By Royal Appointment' and display the royal coat of arms on their products such as stationery, advertisements and other printed material, in his or her premises and on delivery vehicles.

Royal warrants are initially granted for five years after which point they come up for review. Should the goods or service reduce in quality or the supply of the product is insufficient to the Royal Household, a royal warrant will not be renewed. The warrants may be cancelled at any time or automatically come up for review should the holder die, leaves the business or if the company goes bankrupt or is sold. Some companies have a record of royal warrants over a 100 years. The Queen, the Duke of Edinburgh and the Prince of Wales can grant only one warrant to any individual business, however, there are some companies that hold all three.

Royal warrants are granted for a number of products and services, including dry-cleaners to fishmongers, agricultural machinery to computer software.  There are currently approximately 800 Royal warrant holders, holding over 1,100 Royal warrants between them (some have more than one Royal warrant).

Royal Focus: Princess Diana's Wedding Dress

When people attempt to describe the wedding dress of Diana, Princess of Wales, the words voluminous, iconic, meringue, fairy-tale tend to be used. But it's difficult to put into words the impact of it both on fashion and on the memory of those who watched Diana alight from the carriage, as if a 'butterfly emerging from a chrysalis'. Unlike any royal wedding dress before or since Diana's will always be in a league of its own.

The dress, designed by David and Elizabeth Emanuel, took four months to make and was made of ivory pure silk taffeta. The bodice was fitted and boned with a wide frill around the curved neckline. It has embroidered lace panels on the front and back. The sleeves are full and gathered into a taffeta frill at the elbow with lace flounce underneath. The skirt of the dress as full, worn over a crinoline petticoat consisting of many layers of ivory tulle and trimmed around the waist and hem with embroidered lace.

The train, trimmed with lace, was 25-feet long - the longest to date.

The veil, measuring 11 1/2 foot by 40 foot, was hand-embroidered with 10,000 3mm mother-of-pearl sequins. Diana wore the Spencer family tiara for something borrowed. The something old was a piece of lace from Queen Mary, and for something blue, the Emanuel's hand-sewed a little blue bow into the back of the dress. The couple also added a tiny,golden horse-shoe made of 18-carat Welsh gold, studded with diamonds, sewn into the back of the label of the dress.

Diana carried a large, cascading bouquet. On her feet Diana wore slippers by Clive Shilton. Trimmed with lace from the dress, and made of silk duchess satin, dyed to match the color of the dress, the shoes had 542 mother-of-pearl sequins on each pair, each knotted by hand. The fluted heel was made of bits of leather and wood and the soles were hand-painted with the letters "C" and "D" entwined with a heart.

© Marilyn Braun 2010

Thank you for enjoying this article. If you use the information for research purposes, a link to credit the work I've put into writing it would be appreciated.

Royal Focus: Queen Elizabeth II's Royal Wedding Dress

When Queen Elizabeth II, at the time Princess Elizabeth, married in 1947, her wedding dress was a stunning creation despite the post war austerity and strict rationing laws. Princess Elizabeth herself was not exempt from the rationing and reportedly saved her clothing coupons for her wedding dress. She received an extra two hundred coupons from the government and many loyal subjects sent in their own coupons. However, it was illegal to give away clothing coupons and the princess returned them to their rightful owners with a note of thanks.

The wedding dress was made by Norman Hartnell and the design was inspired by an image of Primavera by the painter Botticelli. The figure, with its trailing garlands of jasmine, smilax, syringa and rose-like blossoms - was derived from the classical godess of flowers, Flora, and suggested to him the promise of growth and new beginnings.

Hartnell started work on the dress in August, a mere three months before the wedding in November. Although he was no stranger to designing dresses for royalty, this comission had its share of unique challenges and he had to white-wash the windows of his workroom to keep the dress under wraps. Requiring some materials from the United States, Hartnell sent his manager, Captain Mitchison in his place. Upon his return, when asked if he had anything to declare, Captain Mitchison replied that he had 10,000 pearls for Princess Elizabeth's wedding dress. When the chosen fabric for the dress was publicized, some demanded to know the nationality of the silkworms; whether they were from 'enemy' territories such as Japan or Italy. A crisis was averted when it was confirmed that the larvae had been supplied by China.

Despite these obstacles the dress was a triumph. Decorated with 10,000 pearls, the ivory dress of duchess satin was in the Princess style with a fitted bodice and the neckline had a deep-scalloped edge. The front bodice was cut in three panels and the back cut in four, fastening down the centre back with buttons and loops. The wrist-length, tight-fitting  sleeves ended in embroidered cuffs. From the low-pointed waist, the skirt, cut on the cross, extended to a deep circular train.

The 15-foot star patterned silk tulle train, fastened at the shoulders was embroidered with crystal and appliqué duchesse satin  Working with his head embroideress, Hartnell laid tracing paper out on his workroom floor and carefully marked out the pattern in pencil. The white York roses were padded satin, and the ears of corn and orange blossom in diamante and pearl embroidery, inspired by Primavera. The long veil was held in place by a diamond fringe tiara, lent to the Princess, as something borrowed, by her mother, the Queen. She wore two pearl necklaces (the Queen Anne and the Queen Caroline pearls) given as a wedding gift by her parents, and pearl and diamond earrings, a twentieth birthday present from Queen Mary.

She wore ivory duchesse satin high-heeled sandals, trimmed with silver and seed pearl buckles, made by Edward Rayne. Her floral bouquet was supplied by the Worshipful Company of Gardeners and made by Martin Longman, consisted of white orchids with a sprig of myrtle, taken, as per royal wedding tradition, from a bush at Osbourne.

© Marilyn Braun 2010

Wedding dress images from PicApp.

Primavera by Botticelli image via Wikipedia.

Royal Focus: Sarah Ferguson, Duchess of York's wedding dress

When asked about her wedding dress in 1986, Sarah Ferguson said "there will never be a dress to match it." And to date she has been correct. 

Her dress was designed by Lindka Cierach and was made from heavy ivory duchess satin, which was manufactured at Britain's only silk farm, Lullingstone near Sherborne in Dorset.The fabric was chosen because, according to Sarah 'it is the creamiest material in the world. It never creases. It is as smooth as glass and hangs beautifully.'

The champagne color of the dress flattered the bride's hair and skin tone. The design had a renaissance silhouette and the fitted, boned bodice had a dropped waist coming into a point at the front and a lower 'V' at the back. The neckline was gently curved and edged with pearls. The sleeves were full, coming into a simple pearl-edged point just below the elbow. 

The skirt was flat in front, widening on the sides and full at the back. The 17 1/2 foot train flowed from beneath a fan shaped bow and the underskirt was bordered by a silk scalloped lace flounce billowing out the heavy sheen of the satin skirt. The designer's hallmark - heavy beading - was most strikingly evident on the train and was based on Sarah's Coat-of-Arms.  Worked in seed pearls and diamante, the train was embroidered with thistles, bees and hearts and in a nod to Prince Andrew's naval career, anchors, and waves. Rising in a scale at the bottom of the train, a heraldic 'A' led into a double 'S'.  The pure silk tulle veil had scalloped edging and was embroidered with true lover's knots and shimmered with sequins. The total number of bugle beads, sequins, crystals pearls and stones on the wedding dress amounted to 155,000.

The satin shoes were designed by Manolo Blahnik and beaded with bees and ribbons in pearls and diamonds. She wore a necklace of cultured pearls intertwined with 18 carat gold and a diamond pearl pendant. She wore a headdress off fresh flowers - roses, lily petals , gardenias (Andrew's favorite flower) and lilies-of-the-valley. At the end of the ceremony the headdress was removed to reveal a diamond tiara, symbolic of her metamorphosis from commoner to royal. As Sarah recalled 'I had stepped up as the country girl; I would walk back as a princess.'

In her hands Sarah carried an "S' shaped spray of cream lilies, palest yellow roses, gardenias, lilies of the valley and the traditional sprig of myrtle.  

© Marilyn Braun 2010

Thank you for enjoying this article. If you use the information for research purposes, a link to credit the work I've put into writing it would be appreciated.

Resources

Their Royal Highnesses the Duke & Duchess of York by Christopher Warwick and Valerie Garner

Royal Style Wars : The Trend-Setting Fashion Feud Between the Princess of wales And the Duchess of York

Royalty in Vogue by Josephine Ross

My Story by Sarah, Duchess of York

Invitation To a Royal Wedding ( Sarah Ferguson, Prince Andrew by Trevor Hall

Official Celebration of the Royal Wedding by Gordon Honeycombe