Royal Splendor 101: Enthronement Outfits

As we look ahead to adding a new member to the list of currently reigning monarchs, let's have a look back at the enthronements/inaugurations/coronations/whatever that marked the entrances of those already on the list - with a particular emphasis on what they wore, naturally. Of course, there are often more events than just the one or two you'll see here. There are more monarchies, too, and we'll stick to Europe today.

Queen Elizabeth II of the United Kingdom and Commonwealth Realms

1952

This is the only event with an actual crowning in today's list (in the others you'll see here, items of regalia such as crowns are either not involved or are on display only, and even mantles or robes are scarcely used). This is certainly the most elaborate here and the most famous for it - it took over a year to plan and occurred in 1953. The Queen, who took the throne at the age of 25 following the death of her father King George VI, wore a heavily symbolic gown from Norman Hartnell and her best jewels. We've covered this all in depth in the past, click here to see the coronation posts; click here to see more on the Queen's accession.

Queen Margrethe II of Denmark

1972

The Danish process seems incredibly stark and sad in comparison to the festival of a British coronation. Queen Margrethe II was proclaimed queen on the balcony of Christiansborg Palace at the age of 31 just after the death of her father, King Frederik IX. Since the process happens so soon after the previous monarch's passing, there's not always time to prepare; Margrethe had to borrow a black dress from her mother, Queen Ingrid, to wear with a blouse of her own and a veil. Meanwhile, couturier Jørgen Bender and his team feverishly worked to prep other black outfits including matching black coats for the new queen and her mother and sisters for the funeral. For the proclamation, she also wore the riband and star of the Order of the Elephant and her brooch of her father's portrait. The brooch at her neck is a ruby and diamond horseshoe brooch given to her by her father when she was named heir to the throne (at her birth, only males could inherit the throne - the law changed after Frederik and Ingrid had three girls and no boys); she wore this same brooch during her Ruby Jubilee celebrations in 2012. Click here to see my entry on Margrethe's accession.

King Carl XVI Gustaf of Sweden

1973

Carl XVI Gustaf became king at 27 years old, when his grandfather King Gustaf VI Adolf died. (Carl Gustaf's father, also named Gustaf Adolf, died in a plane crash when Carl Gustaf was just a baby.) Gustaf Adolf died on September 15th, and the new King was enthroned on September 19th. The king's magnificent ermine robe was draped on the grand silver throne but not worn; the regalia sat to the side on display. In uniform, he was adorned with two collars from orders of chivalry (the Order of Vasa and the Order of the Seraphim) plus accompanying medals and so on. An impressive outfit, if a bit loud - click here for a video from the day and listen for his clanking. He was unmarried at the time; his sisters wore traditional Swedish court mourning dress outfits. The King has a Jubilee this year, 40 years on the throne, and he and the Queen have already started their visits to each of Sweden's counties.

King Juan Carlos I of Spain

1975

Juan Carlos is a unique member of this group: when he took the throne, it meant the restoration of the Spanish monarchy after the rule of General Franco (the young prince was chosen by Franco to be his successor). Franco died on November 20th. On the 22nd, accompanied by Queen Sofia in a long pink court dress with the sash of the Order of Charles III, the 37-year-old uniformed royal visited the Cortes Generales and was sworn in as King of Spain (click here for video of that event). They then visited the lying-in-state of Franco, for which the Queen added a black coat over her pink dress. On the 27th, they attended the Holy Spirit Mass - the enthronement mass, which served as the coronation equivalent - where the new queen made an impression her blue dress with a peineta and mantilla.

Queen Beatrix of the Netherlands

1980

We'll have more on Dutch inaugurations later, but for now: 42-year-old Beatrix wore a long white gown from dressmaker Theresia Vreugdenhil following the abdication of her mother, Queen Juliana. Beatrix's request for the gown was that it include some sleeve interest, since the lasting photograph would be of her with her arm raised, taking her oath. She wore the Pearl Button Tiara as well as the Military William Order and her ermine robe was restored by Vreugdenhil prior to the event. Her husband Prince Claus was in white tie and the Order of the Netherlands Lion. Click here to see our entry on Beatrix's accession.

Prince Hans-Adam II of Liechtenstein

1989

Video: the proclamation of Hans-Adam II

Prince Hans-Adam II formally became Liechtenstein's head of state at the age of 44 in 1989 when his father, Franz Joseph II, died. But in fact he'd been ruling in all but title since 1984, when Franz Joseph passed on his powers. Hans-Adam's proclamation celebrations were held on National Day in August 1990. Sartorially, the ceremony itself seems quite casual in comparison to some of the others seen here: the Prince wears a business suit, his wife Marie Aglaë wears a floral dress. Hans-Adam has now followed in his father's footsteps and passed his powers on to his son, Alois, while still remaining head of state.

King Harald V of Norway

1991

King Harald came to the throne at the age of 53 following the death of his father, King Olav V. Olav died on January 17th; on the 21st, the new king and queen went to parliament and Harald took his oath. In June, a consecration ceremony was held at Nidaros Cathedral, which was the larger "coronation" event (though Norway had done away with an actual crowning decades before). The King was formally dressed in his uniform adorned with the collar of the Order of St. Olav and the sash of the Royal Norwegian Order of Merit, while Queen Sonja made an impression in her theatrical ensemble of white and gold from Norwegian designer Tine Solheim. The outfit included the St. Olav collar and her family order pinned on a flowing dress overlay, and was topped by a fabric kokoshnik in her hair. Click here to read more about Harald's accession.

King Albert II of the Belgians

1993

Albert's brother King Baudouin died at the age of 62 on July 31st. The unexpected death of the well-loved king hit the country hard. Baudouin and his wife Queen Fabiola had no children, and many had considered Prince Philippe, Albert's son, to be the natural heir. But the line of succession was followed, and it was Baudouin's 59-year-old younger brother that was enthroned in front of parliament on August 9th. Sartorially, it was one of the simpler events on our list today, with Albert in uniform and the Order of Leopold and the new Queen Paola in a simple day outfit.

Grand Duke Henri of Luxembourg

2000

Much like the Netherlands, Luxembourg has had a tradition of abdication for a few generations now. Grand Duke Jean abdicated in favor of his 45-year-old son Henri just as his mother had abdicated for him decades earlier. There were several events celebrating the change of power, but the main show was the signing of the Abdication Decree at the palace followed by the swearing in and enthronement speech of the new Grand Duke. For this, Henri wore his military uniform and the sash of the Order of the Gold Lion of the House of Nassau; the new Grand Duchess Maria Teresa wore a long court outfit with her own sash. Their five children came dressed in their very best, with their oldest sons in morning jackets. For more on the process of abdication in Luxembourg, click here for a post from Luxarazzi.

Prince Albert II of Monaco

2005

Prince Rainier III passed away on April 6th and the throne of his small principality passed to his son, Albert, who was 47 years old. There were ceremonies in July and at National Day in November. The November celebrations were the more formal enthronement event, including representatives from foreign royal families and Albert all uniformed up. We've talked about Albert's accession in the past, click here to see.

Pope Francis

2013

The Pope isn't really in the group we tend to cover here, but he is considered a monarch. No real need to remember Francis' installation, though - we've just seen it!

So, we've got a bit of everything on show here: from the very fancy to the fairly simple, and mostly in between. The magpie in me requires me to hold the British version as my favorite (tiaaaarrraaas, hello) but I think the variety's kind of nice. After all, each one of these monarchies has a different history and a different culture to represent, and each tradition has developed accordingly. Plus, variety is the spice of life and all that, right?

What do you think makes a good enthronement outfit?

Photos: Royal Collection/DR/Corbis/Getty Images/Reuters

Readers' Top 10 Wedding Gowns: #6. Princess Margaret, Countess of Snowdon

Princess Margaret was a sensation in her youth – beautiful, fashionable, and with a social life (and love life) made for tabloid consumption. When she finally married, to photographer Antony Armstrong-Jones on May 6, 1960, the world was watching (quite literally: hers was the first televised royal wedding). The fashion plate princess did not disappoint: her wedding gown is still wowing people decades later, enough so to earn itself the #6 spot on your countdown.

Margaret turned to Norman Hartnell, the couturier responsible for much of the daily style of Margaret’s sister, the Queen, and her mother, the Queen Mother, as well as several landmark fashion moments for the women: the White Wardrobe, the Queen’s wedding gown, the Queen’s coronation gown. But the bride did not want another heavily embellished traditional Hartnell creation; she and the groom requested a simple line. Margaret was a petite lady, and every aspect was designed to elongate and flatter her.

Hartnell came up with a white silk organza gown that was simple and not at the same time. The bodice featured long sleeves and a v-neck, using 30 yards of sheer silk. The slim fit top ballooned into a large skirt, which accentuated the bride’s tiny waist.

The skirt, in 12 panels, used another 40 yards of fabric plus an 8 layer stiff tulle petticoat underneath to create its shape. It extended into a train behind. Hartnell’s typical practical details were present in a deep pleat at the back of the skirt that allowed the bride to sit without creasing her dress.

The St. Cyr of Paris veil was tulle bound plainly in ivory satin, adding another simple but voluminous white layer to her ensemble. The overall effect prompted The Times to write of Margaret, “it was as though she moved in a soft white cloud.” Hartnell also designed the young bridesmaids’ dresses, at the bride’s request modeled after an early dress of hers that her late father had particularly liked.

The dress’ simplicity allowed for some statement accessories: a diamond necklace from her grandmother Queen Mary and the large Poltimore Tiara, acquired specially for Margaret. The necklace seems to have been the one given to Queen Mary by Lady Mount Stephen and subsequently gifted to Margaret; this, along with the Poltimore Tiara, was sold at auction after Margaret’s death. The magnificent Poltimore earned a place on your list of favorite tiaras.

Margaret’s dress is on loan to the Royal Ceremonial Dress Collection at Kensington Palace (along with a replica of the Poltimore Tiara), but is not on permanent display. I’m not surprised this dress made it to your countdown, but I am a little surprised it didn’t end up higher; my original entry on this dress is the most viewed page in this blog’s history. But #6 it is, so tell me…

What puts this gown in the Top 10 for you?

Photos: Getty Images/Rex Features/Historic Royal Palaces/Christie's/Reuters

Wedding Wednesday: The Duchess of Gloucester’s Gown

 HRH Prince Richard of Gloucester and Birgitte van Deurs

July 8, 1972

Barnwell, England

It was a quiet affair 40 years ago when Danish-born Birgitte van Deurs married the prince she met while at school in Cambridge, Prince Richard, the younger son of the Duke and Duchess of Gloucester and the queen’s cousin. By the couple’s own design, they had a simple country wedding, and the bride had the dress to match.

The dress was another turn in style for Norman Hartnell, who by this time had handled everything from the 1930s elegance of the bride’s mother-in-law’s wedding gown, to the embellished creations of Queen Elizabeth’s wedding gown and coronation gown, to the chic simplicity of Princess Margaret’s wedding dress. For Birgitte, Hartnell created a very 1970s dress with the high collar, simple skirt and small train, and long sleeves all done in white Swiss organdie with a floral embossing.

The veil too was simple, in white tulle with white organdie piping at the edges. It was secured with a grouping of stephanotis flowers rather than a tiara, and the bride carried a bouquet assembled by her mother-in-law.

Though it lacks many of the statements and flourish we’ve come to expect from a “royal” wedding gown, Birgitte’s dress was geared towards the occasion, which didn’t have the trappings we’ve come to expect from a “royal” wedding either. There were no bridesmaids or pages. It wasn’t held in a grand cathedral, but in the village church a walk away from the Gloucester family home of Barnwell Manor in Northamptonshire. It wasn’t televised; in fact, the media wasn’t even allowed inside to witness the private ceremony. Though the Queen Mother, the Prince of Wales, and Princess Margaret were in attendance, the queen was absent.

All of this was perfectly in line with the life that the young couple had planned. Prince Richard was pursuing a career in architecture; his older brother, Prince William, was in line to take over the responsibilities and royal role that accompanied their father’s title. But history, of course, had a different plan for Richard and Birgitte.

With Prince William of Gloucester (right), the best man

Six weeks after the wedding, Prince William died in an airplane crash. Two years after that, the Duke of Gloucester died after a long illness (he had only been well enough to attend the reception at Richard’s wedding), and this bridal couple became the new Duke and Duchess of Gloucester. They dutifully abandoned their other life plans and have quietly supported the queen ever since.

In recognition of their work for the royal family, Birgitte has been given Queen Elizabeth’s royal family order and is a Dame Grand Cross of the Royal Victorian Order; Richard was made a Knight of the Order of the Garter in 1997, and of course they have other honors too. After forty years of marriage, the couple have three children (Alexander, Earl of Ulster; Lady Davina Lewis; Lady Rose Gilman) and five grandchildren.

Photos: Christopher Warwick/Corbis

Flashback Friday: The White Wardrobe

In the Buckingham Palace gardens

The Queen Mother passed away on March 30, 2002. In addition to celebrating the second of her two favorite tiaras yesterday, today we're commemorating her style with a post that many of you have written to request.

I don't know about you, but when I think of the Queen Mother, I don't generally think of a fashion icon. In the span of my memory - and I'm willing to guess most of yours as well - she was firmly settled into the last phase of her style, which was anything but fashionable. But search back in history and you'll find a different story; a time and a place in which Queen Elizabeth and her unique style captivated the public. Today, we're flashing back to what has become known as the White Wardrobe.

In 1938, King George VI and Queen Elizabeth were scheduled for a state visit to Paris. Pleased with the success of a gown Norman Hartnell designed for her for a 1937 Belgian state visit, the queen commissioned more than 30 new outfits for her trip. But five days before the relatively new monarch and his consort were scheduled to depart, Queen Elizabeth's mother died. Countess Strathmore's death sent the Court into mourning.

Details and sketches of the wardrobe

The visit was delayed three weeks, but the question of how to proceed still loomed. The brand new Hartnell wardrobe had been made in an array of colors and was no longer appropriate; neither, however, was the black clothing required of traditional mourning. This was an important visit: Hitler was looming large in Germany, and the alliance between Britain and France was crucial. The state visit was intended to solidify the friendship between the two countries, and a queen in stark black wasn't going to project the right image (not to mention, it certainly wouldn't do for the July weather).

During the visit

Hartnell came to the rescue with an old idea made new: use white for mourning. There was plenty of precedent; French queens had used white in the past, and Queen Victoria requested a white funeral. Queen Elizabeth agreed, and Hartnell and his staff went to work whipping up an entirely new wardrobe in just a couple of weeks.

A few of the dresses and gowns from the wardrobe

When George VI came to the throne in 1936 after the abdication of his brother, Edward VIII, he famously asked Hartnell about a new image for his wife and showed him some of the romantic Winterhalter portraits around the palace as inspiration. The White Wardrobe is the absolute embodiment of that romantic image: lace and satin and crinolines in day dresses and evening gowns. Even the accessories rise to the occasion - could there be a daintier accent than a parasol? The queen's new look was designed to flatter her figure and lengthen her petite frame, rather than stick to any sort of trend.

The creations on the queen, in Paris (first three), later at Buckingham Palace (fourth from left), and a refreshed and redesigned dress during the family's 1947 tour of South Africa and Rhodesia (far right)

When the trip arrived, Queen Elizabeth left England in black and arrived in France in dazzling white. Dressed like a cloud, she was an ethereal sight to behold. There are several accounts of her presence inspiring gasps from the crowds, from the moment she stepped off the train to the flutter when she opened her parasol (in fact, she temporarily revived parasol production in Paris and London). The white color proved to be the perfect thing to make her easily seen in the crowd, as did her seemingly outdated style. Her romantic image was the opposite of what many French women were striving for with their sleek up looks and raised skirt heights; and as is the case more often than not, timeless elegance and working with what suits you before anything else easily surpassed the trends.

A sampling of the press the tour garnered, with this quote from a French diplomat: "To-day France is a monarchy again. We have taken your Queen to our hearts. From now on she rules over two nations."

The visit was highly anticipated by France - the government spent a fortune renovating the suites the king and queen were to stay in - and the end result did not disappoint. The royal couple won over the press and the French, solidifying the Entente Cordiale just before Europe was engulfed by World War II. The queen's fashion made a particularly grand impression: here was proof that couture existed outside of Paris. Norman Hartnell was immediately awarded membership to the Academie Française; Christian Dior would later recall the wonders of the queen's Paris wardrobe "whenever I try to think of something particularly beautiful." The queen herself was so pleased with the outcome she asked Cecil Beaton to photograph her wearing it in the gardens of Buckingham Palace, and Hartnell's position as the royal dressmaker was firmly set (resulting in several notable commissions to come, like this one, this one, and this one).

The White Wardrobe on display

The White Wardrobe, still remembered as a fashion high point today, was the subject of Buckingham Palace's summer exhibit in 2005. I was lucky enough to see it for myself, though I confess to being so dazzled by the Oriental Circlet displayed alongside the frill that most of it pales in comparison.

And you? Are you captivated by the White Wardrobe?

Photos: PA/The Royal Collection/Queen Elizabeth II/Michael Pick/Norman Hartnell

Flashback Friday: The Queen's Coronation Gown

For the most important outfit of her reign and what was essentially her second wedding dress, Queen Elizabeth returned to the man that made her first and would shape her look for decades to come: Norman Hartnell. With instructions to create a regal gown for the ages, Hartnell began a back-and-forth design process with the queen. Pure white was out in favor of color; form-fitting sheaths were discarded in favor of less body-conscious options; simplicity was rejected in favor of symbolism from around the United Kingdom, which was in turn rejected in favor of symbolism from all around the Commonwealth.

After diligent research on past coronation gowns and consultation with the symbolism authorities (during which he was forced to learn that the Welsh leek could not be substituted for the daffodil, no matter how much prettier he thought it might be), and nine proposals to the queen, Hartnell had a design.

The coronation gown was created from white satin made from fibers from the silk farm at Lullingstone Castle. Short sleeves and a heart-shaped neckline tapered down to the monarch's tiny waist, with the full skirt flaring out from below and ending in a slight train at the back. On to this base of a dress came the real star of the show: the embroidery. Seed pearls and crystals created a lattice-work background for floral emblems in pastel silks and gold and silver threads.

Every country in the Commonwealth at the time was represented: the Tudor rose for England, the thistle for Scotland, the leek for Wales, the shamrock for Ireland (despite the fact that by that time only Northern Ireland remained), wattle for Australia, the maple leaf for Canada, the fern for New Zealand, protea for South Africa, lotus flowers for both India and Ceylon, and Pakistan's wheat, cotton, and jute. Unbeknownst to the queen, a single four leaf clover was added on the left of the dress, just where her hand would brush throughout the day. In order to carry and distribute the weight of all the embroidery, the dress was lined in taffeta and three layers of horsehair.

After eight months of work, the gown was delivered to the queen three days ahead of the coronation; she declared it to be "glorious". Queen Elizabeth actually wore her glorious gown six more times after Coronation Day: for receptions at Buckingham Palace and the Palace of Holyroodhouse as well as Parliament openings during her coronation tour in New Zealand, Australia, and Ceylon in 1954 and Canada in 1957.

At left, on the way to be crowned; at right, after returning to Buckingham Palace

The queen accessorized her dress with Queen Victoria's "coronation" necklace and earrings, commissioned by Victoria in 1858 and worn by queens at each coronation since Edward VII's in 1902. She departed for the coronation carrying a bouquet and wearing the Robe of State at her shoulders and the George IV State Diadem on her head. She returned in the Robe of Purple Velvet plus the Imperial State Crown and other pieces from the crown jewels - more on those later.

The coronation necklace and earrings and the George IV State Diadem

Queen Elizabeth's robes were among the other garments commissioned for the coronation. Norman Hartnell also created a simple pleated white linen covering added over the gown for the anointing.

L to R: the linen covering, the Robe of State, the Purple Robe of Estate

Both robes were new and created with hand-woven velvet made from silk from the same silk farm as the dress. The 18 foot crimson Robe of State was lined in ermine with gold lace and filigree work around the edges. It weighs more than 15 pounds and was worn arriving to the coronation; this is the robe used by the queen for each State Opening of Parliament. Special to the coronation, the 21 foot Purple Robe of Estate featured an ermine border and cape with a white silk lining. The Royal School of Needlework put 3,500 hours into the gold embroidery. The queen departed the coronation wearing this robe, and it is the one that features in all of the official photographs.

The maids of honor, L to R: Lady Moyra Hamilton, Lady Anne Coke, Lady Jane Vane-Tempest-Stewart, Lady Mary Baillie-Hamilton, Lady Jane Heathcote-Drummond-Willoughby and Lady Rosemary Spencer-Churchill

Hartnell was also commissioned to make the outfits for the queen's 6 maids of honor, all single aristocratic girls who were in charge of managing and carrying the heavy train via invisible silk handles. Smelling salts were sewn into their gloves as their dresses featured tight waists, the ceremony was long, and the pressure was high. Each wore white satin gowns with pearl blossom and golden leaf embroidery with gold tissue wreaths of forget-me-nots, freesia, and heather. They were the perfect accompaniment to the star of the show and her magnificent gown. 

Do you think Hartnell succeeded in his mission to create an iconic gown? 

Photos: Norman Hartnell/The Royal Collection/Queen Elizabeth II/Victoria and Albert Museum/Daily Mail

Wedding Wednesday: Alice, Duchess of Gloucester's Gown

HRH Prince Henry, Duke of Gloucester and Lady Alice Montagu Douglas Scott

November 6, 1935

London, England

Today's gown belongs to something of a backstage royal - one of those that never grabbed the main headlines, but was always working away behind them - who had a rather backstage wedding. But despite all of that, this gown would lead to a royal trend that lasted for decades to come. And yes, it is pink.

It was an unusual colored gown, but she was something of an unusual bride. As the daughter of the largest landowner in Scotland, the Duke of Buccleuch and Queensberry, Lady Alice Montagu Douglas Scott grew up alongside her future husband, the third son of King George V and Queen Mary. But despite her aristocratic background, Alice was no typical royal bride - by the time she married, she was 34 years old (quite old for the time - oh, how things have changed!) and had traveled the world for years.

The particular significance of this dress is due to its designer: Norman Hartnell. Today that seems like a "typical" royal choice, but Alice's dress was actually the first major royal commission for the royal couturier. It led to the then-Duchess of York (the future Queen Elizabeth, the Queen Mother) visiting his studio and ordering a few frocks, which in turn led to work for Queen Mary. Eventually, all of this led to his becoming the sole man in charge of the style of the major royal ladies for decades, including such significant royal milestones as wedding gowns for both Princess Elizabeth and Princess Margaret, and the coronation gown of Queen Elizabeth II.

Owing to her age, Alice did not want to marry in a pure white gown - a desire certainly enhanced when her father died only a few weeks before the wedding day. So, Hartnell created a satin gown in a pearl pink shade with a matching tulle veil and an unusual cluster of orange blossoms at the neckline. On her head she wore a crystal headdress specially made for the day instead of a regular tiara.

Her father's death was a shadow over the day itself. A planned public ceremony at Westminster Abbey was scratched in favor of a wedding in the private chapel at Buckingham Palace, though the bride did still make her entrance in the glass carriage and there was still a balcony appearance afterward.

The whole affair took a backseat to the more glamorous nuptials of Henry's younger brother Prince George, Duke of Kent, and his wife, Princess Marina of Greece and Denmark the year before. In fact, the Gloucesters would stay in the background of the family, still dutifully going about their royal business, for the rest of their lives.

They had two children, Prince William (the oldest) and Prince Richard. William died in an airplane crash at the age of 30, in 1972; Prince Richard became the current Duke when his father died in 1974. After her husband's death, Alice was granted the courtesy title of Princess Alice, Duchess of Gloucester by the Queen, despite the fact that she was never a princess of the blood herself (she didn't want to be known as the Dowager Duchess of Gloucester, and this move gave her the same styling as her sister-in-law Princess Marina). She died in 2004; at 102 years old, she was the oldest living royal in history.

What do you think of Alice's pink concoction?

Wedding Wednesday: Queen Elizabeth II's Gown

A wee while ago, reader Lea emailed me with a suggestion for a new blog feature: Wedding Wednesdays. Say what?!? Combining my love for royal weddings and my love for slightly cheesy days-of-the-week themed posts?! Reader Lea is a genius. Like Einstein, but with better hair. Let's do this thing:

We might as well kick off our new feature with one of the most famous royal wedding gowns of all time, that of Queen Elizabeth II.

Princess Elizabeth married Lieutenant Philip Mountbatten on November 20, 1947 in Westminster Abbey. I think you could call this wedding the beginning of what we know now as Royal Wedding Fever. Post-war Britain needed a pick-me-up, and their pretty, dutiful young Princess stepped up.

The bride selected court dressmaker Norman Hartnell for the design duties, as she would continue to do for decades to come. Hartnell's inspiration for the gown was Botticelli's Primavera (above left), which symbolizes the coming of Spring - certainly a metaphor for England's rebirth after the war. The result (his sketch, above right) was a rather intricate and dreamy creation in ivory duchesse satin that was both extravagant and yet somehow fitting for the austere times.

Just like everyone else in the country, Princess Elizabeth had to fund her gown with clothing ration coupons. Unlike everyone else, she was allowed 200 extra coupons by the government. Famously, people sent in their own coupons to help the Princess out (these were sent back with a note of thanks, since it was illegal for her to use them). In another sign of the times, the public had to be reassured that the silkworms used to create the gown came from China, rather than enemy countries such as Italy and Japan.

The gown was heavily embroidered with thousands of seed pearls (flown in from the United States), silver thread, crystals, and tulle appliqués. I do wonder how much this gown weighed, with all this going on. Amongst all this embroidery, you can be pretty much assured all your symbolic bases were covered.

The train was silk tulle embroidered in a star pattern that extended 13 foot back from the bride's shoulders. The silk tulle veil was shorter than the train, leaving the embroidery to be the star of the show. The overall effect is quite diaphanous, like a halo of tulle surrounding the bride.

The bride accessorized with sandals in ivory duchesse satin fastened with a silver buckle ornamented with yet more pearls. Her bridal bouquet was made of white orchids (and the traditional sprig of myrtle) and was sent back to the Abbey the day after the wedding to rest on the Tomb of the Unknown Soldier, as was tradition to do. In one of the many  hitches experienced by the bride on her wedding day, her bouquet was temporarily lost until someone remembered it was in a refrigerator.

The shorter of her two pearl necklaces was the 'Queen Anne' necklace, said to have belonged to Anne, the last Stuart Queen. The longer 'Queen Caroline' necklace was said to have belonged to the wife of King George II. Both were left to the Crown by Queen Victoria and were given to Elizabeth as a wedding present by her father, King George VI. In another mishap, both were left on display with the rest of the gifts at St. James Palace and had to be fetched through the crowds. They were returned to Buckingham Palace with minutes to spare before the bride's departure. Her earrings were a 20th birthday present from Queen Mary, who had inherited them from her mother.

The diamond fringe tiara was lent to the Queen on her wedding day by her mother (and will be detailed further in tomorrow's tiara discussion). And in yet another wedding day oops, the frame of the gem broke as the bride was putting it on and had to be quickly repaired. She must be an awfully calm person, the Queen: that's a lot of important mishaps to take on one's wedding day.

This dress has far more detailing on it than is usually my taste, but somehow I've always liked it. Unlike some gowns that suit their times but get swept away by the changing current of the trends, I think this one stands strong. You know it was the ultimate dress for the time, and for the Princess, and sometimes that's all that matters.

And you? Is this a favorite or yours - or not?

Photos: Getty Images/Central Press/Hulton Archives/Berty Hardy/Picture Post/JA Hampton/Topical Press Agency