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The dress was designed by Norman Hartnell. [2] Hartnell's signature was said to be embroidery, and he enjoyed "working with soft, floating fabrics, particularly tulle and chiffon, and with plain, lustrous silks". [2] The dress was made of Chinese silk, with a high neckline, tailored bodice and a short train.
Farthingale sleeves for Catherine Fenton Boyle cost 4 shillings and 4 pence in October 1604 from Robert Dobson, a London tailor. [42] In 1605, Catherine Tollemache wrote to her London tailor, Roger Jones, about farthingale sleeves covered with satin, and he suggested another style of sleeve now in fashion would be "fytter" for her new gown. [43]
The dress was an embroidered "Tudor-style" wedding dress with a high collar and "mediaeval" trumpet sleeves, [1] [5] with white silk chiffon under sleeves edged with pearls and other jewels. [6] Her veil was made of silk net embroidered with floral sprays, and her "something borrowed" was the Queen Mary Fringe tiara. [6]
Anne Knollys wears a black gown and full white sleeves trimmed with gold lace or braid. She wears a French hood with a jewelled biliment and a black veil, 1582. The Infanta Isabella Clara Eugenia of Spain is seen here again wearing a Spanish farthingale, a closed overskirt, and the typically Spanish, long, pointed oversleeves.
In addition to Queen Elizabeth’s wedding dress, Hartnell also designed her coronation dress, worn in 1953 and made of duchesse satin richly embroidered in a lattice-work effect. It was further ...
To have a whole dress of it is absurd really.” Other notable items in the exhibit include an apron worn by Queen Charlotte’s Wardrobe Maid Ann Elizabeth Thielcke.
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