Showing posts with label Cornelia Vanderbilt. Show all posts
Showing posts with label Cornelia Vanderbilt. Show all posts

December 13, 2017

{Titanic Glamour}



My article, "Titanic Glamour," is featured in the winter issue of SEASON magazine (scroll to page 48.) I've reprinted it below, adding images shared by fashion historian Randy Bryan Bigham, author of Lucile - Her Life By Design.

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TITANIC GLAMOUR

Bridal sketch by Lucile
Courtesy: Randy Bryan Bigham
 
Whenever you read about the RMS Titanic—the fabled “floating palace” that sank on its maiden voyage in April of 1912—gilded glamour and high fashion are always part of the intrigue. During its “dressing hour,” when first-class passengers dressed for dinner following white-tie protocol, many ‘Lucile’ gowns—gingerly unpacked by ladies’ maids from grand steamer trunks—were worn by patrons unaware the celebrated designer, sailing incognito, was aboard. British couturiere Lucile, Lady Duff Gordon, traveling to expand her business in America, was on the Titanic with her husband, Sir Cosmo Duff Gordon, and her assistant, “Franks.” (All three were saved when disaster struck, but there was a whiff of scandal surrounding the circumstances!)  

Lily Elsie in Lucile, Ltd. wedding gown, circa 1911
Courtesy: Randy Bryan Bigham
Lucile was internationally famous for her femme-femme evening clothes and bridalwear made of gossamer layers of silk with delicate beadwork (some say she was the first to design a “corsetless” gown); she was also known for her elegant ‘naughty but nice’ lingerie—a bridal trousseau darling of the rich and royal. Indeed, the innovative designer was favored by fashionable brides around the world: stars of stage and screen, fiancées of business tycoons, daughters of the nobility (too many to name here!) One of Lucile’s beautiful young brides was a fellow Titanic passenger—recently married to the older and very wealthy John Jacob Astor IV; Madeleine and her unborn child made it to safety, he did not.

Lucile’s élan even spilled over into the popular Downton Abbey television series 100 years later! There’s a scene in season three—soon before Lady Edith Crawley’s ill-fated wedding—when Cora, Lady Grantham (quite the fashionista), informs Violet, the Dowager Countess, that the bride would, of course, be wearing ‘Lucile.’

Mary Marvin in Farquharson & Wheelock design
Courtesy: Randy Bryan Bigham
Mary Farquharson Marvin—the daughter of another high-society couturiere—and her husband were also first-class passengers on the Titanic, returning to New York from their European honeymoon. Mary’s mother was half of the Farquharson & Wheelock design team—two Scottish sisters with fashion ateliers in Washington, DC and New York City. Naturally, they designed Mary’s stylish wedding gown and, because of their fame, she appeared in Vogue wearing the bridal confection. (A decade later, Farquharson & Wheelock created the lace and silk tabard-style gown for Biltmore heiress Cornelia Vanderbilt’s wedding in Asheville, NC.)

The family of Mary’s husband, Daniel Warner Marvin, were pioneers in the motion picture production business and, although their wedding in early 1912 was not filmed, the ceremony was restaged for the camera a few months later, making international news. The London Daily Mirror reported it as the very first wedding to be “cinematographed.” Sadly, like many men on the sinking Titanic, Mary’s husband saw his young wife safely aboard a lifeboat, then stayed behind and went down with the magnificent ship. ~

April 3, 2017

{Something Most Royal}


My article, "Something Most Royal," is in the new spring issue of Season magazine! Plus I've reprinted it below with lovely images.... 
Enjoy!




Something Most Royal
Those of us who love royal weddings and queenly costume dramas have had a most regal “film feast” of late! “The Crown”—a rich, lavish Netflix production chronicling the life of Queen Elizabeth II—begins with her wedding in 1947; and “Victoria,” the British series on PBS, portrays the young queen’s journey beginning when she succeeded to the throne in 1837, soon followed by her legendary wedding.

I have written about both Queens, sharing stories of their wedding ceremonies, gowns and the lasting impact of their bridal legacy. But here I tell about a reluctant royal bride of the 1920s—someone who played an important role in connecting the lives of Victoria and Elizabeth, as well as influencing fashion for both real and fictional brides we know and love!

Lady Elizabeth Bowes-Lyon, daughter of the 14th Earl of Strathmore, didn’t want a life in the royal spotlight, yet after long being wooed by the Duke of York, love won out. They married in 1923, neither presuming “Bertie” would become king; nevertheless, history changed course, and royal duty called. 
This beloved future queen chose something very fashion forward for her wedding: a slim, drop-waist silhouette with ornate pearl-beaded, medieval-inspired metallic trim. However, it was the sleek, column shape that influenced Cornelia Vanderbilt’s couture designers’ for her 1924 wedding (she married the Honorable John F. Amherst Cecil from England) and also inspired Downton Abbey costumier Caroline McCall’s design for Lady Mary—for that highly anticipated wedding with Matthew Crawley set in the spring of 1920!

Lady Elizabeth’s long, heirloom lace veil was also an inspiration for future brides. Queen Mary loaned her daughter-in-law-to-be a family veil of “old point de Flandres which had aged to a soft ivory colour,” according to British historian Ann Monsarrat, “and the silk crêpe moiré for the wedding dress was dyed to tone with it.” Lady Elizabeth was “the last major royal bride to wear flowers rather than diamonds” (a trend established by Queen Victoria when she wore a crown of creamy orange blossoms), yet Monsarrat called Elizabeth’s headdress a “typically hideous 1920s arrangement” and even “monstrously unbecoming”! The veil, although of exquisite handmade lace, was “clamped down over her head to the eyebrows and firmly held there by a garotte—in this case, a narrow band of myrtle leaves with two white roses and sprigs of orange blossom above each ear.”

Our other two 1920s brides fared much better however! Cornelia Vanderbilt wore her maternal grandmother’s lace veil and orange blossom headpiece in a similar fashion as the petite Lady Elizabeth, but with her statuesque figure, Cornelia carried it off with aplomb. And Downton’s designer went with more glam for Lady Mary, foregoing orange blossoms altogether, she selected a graceful diamond tiara fit for a real princess! ~

February 4, 2017

{Reimagining a Legend - Redux!}


Cornelia Vanderbilt Cecil, at home, Biltmore House 1924
Photo courtesy of The Biltmore Company
In honor of the ongoing exhibit at the Biltmore Legacy Museum in Asheville, NC—featuring Vanderbilt family wedding treasuresI'm once again sharing the link to my article "Reimagining a Legend" published last year on Huffington Post (when the exhibit first opened.)
The article offers background on how a design team at Cosprop, Ltd. London recreated Biltmore heiress Cornelia Vanderbilt's 1924 couture wedding gown and accessoriesthe centerpiece of the museum's exhibit on Biltmore Estate. 
Vanderbilt family wedding exhibition at Biltmore Legacy Museum

[See details of my special event in April, 'Social Graces' at Biltmore during their "Designed for Drama: Fashion from the Classics" costume exhibition!]



July 1, 2016

{A Dress Reimagined}


In celebrating the current Vanderbilt family wedding exhibition at the Legacy museum on Biltmore Estate in Asheville, North Carolina, I’ve written several articles about the treasures on display. One is the recreation of Cornelia Vanderbilt Cecil’s 1924 wedding gown and veiling by Cosprop Ltd. London (of Downton Abbey fame!)

Here’s another version of that fascinating story just published in the summer issue of Season magazine….and I’ve reprinted it here for you to enjoy. This one gives a bit of background about my former vintage bridal shop, its Downton Abbey connection, and my love of old lace. Would like to hear what you think!


A Dress Reimagined
by Cornelia Powell

Those of you who visited my former bridal art-to-wear shop in Atlanta in the 1980s and ‘90s would remember the lovely one-of-a-kind dresses made from vintage laces. The shop’s designers used found pieces of original materials: beadwork, laces, embroidery and remnants from beautiful old gowns that often became the starting point for a new dress, adding richness and gravitas that only “something old” could do. (“Elegant recycling” is how one of my designers described the process.) 

Downton Abbey’s designers relied on similar techniques for many of their costumes including 1920s-era wedding dresses for the Crawley sisters. (Something you already knew if you’ve attended one of my costume talks!) Designer Caroline McCall combined vintage lace panels with new silks to make the column-shaped bridal dress for Mary’s first wedding; then an antique hand-beaded satin train she’d found became the design inspiration for Edith’s dress for her “almost wedding” in season three. In the show’s romantic finale, designer Anna Robbins used a collage of vintage Brussels laces to create Edith’s “happy ending” bridal gown.

What if the lost wedding dress of a famous heiress needed such superb designer attention? Cornelia Vanderbilt married on her family’s grand Biltmore estate in 1924, but years later her satin wedding pumps—aged to a creamy patina and still trimmed with sprigs of fabric orange blossoms—were all that remained of her costume. So, with an exhibition in mind, Biltmore commissioned legendary costumier John Bright at Cosprop, Ltd. London—of Downton Abbey fame—to recreate Cornelia’s lace and silk wedding ensemble.

Once Leslie Klingner, Curator of Interpretation, and her team at Biltmore gathered archival photographs and newspaper clippings with descriptions of Cornelia’s dress (details of her wedding had filled society columns worldwide), the transatlantic “reimagining” project was on! After a year of planning, conference calls, lace and fabric samples going back and forth between London and Asheville, NC—plus seven weeks of cutting and sewing by a team of five—Cornelia’s dress and veil were, indeed, beautifully reimagined.

Cornelia Vanderbilt Cecil’s original gown was the stylish “tabard” fashion of the 1920s: a lace tunic over a silk slipper-satin, long-sleeve sheath (a design that influenced the gown for Downton’s Lady Mary.) From the photographs, the lace of Cornelia’s gown, with its distinctive floral pattern, appears to be an exquisite Duchesse; but fine lace yardage from that era is rare, so Cosprop cleverly repurposed an antique lace shawl and, although the pattern varied from the original, the proportions were perfect! Cosprop also recreated Cornelia’s lace headpiece and voluminous veiling—which had included her maternal grandmother’s rose point heirloom veil—by appliquéing hand-cut vintage lace motifs onto yards and yards of custom-dyed tulle.

Cornelia’s recreated wedding ensemble is now on display at Biltmore’s Legacy Museum. To me it’s a lovely reminder how, in the hands of inspired designers, bits of vintage laces and trims can be “reimagined” to enchant us still. ~

[Top and bottom three images courtesy of The Biltmore Company]

June 14, 2016

Reimagining A Legend


Cornelia Vanderbilt at home, Biltmore House. April 1924
 [Courtesy of The Biltmore Company] 
Enjoy my article “Reimagining A Legend” published in the Huffington Post. It shares a bit of background how Cosprop Ltd. London recreated Biltmore heiress Cornelia Vanderbilt’s circa 1924 wedding ensemble.  HuffPost