{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 14^th 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! ~

{A Veil of Distinction} Redux

Continuing our celebration of the ongoing Vanderbilt/Cecil family wedding exhibition at the Biltmore Legacy Museum in Asheville, NC—which opened in February of last year—I'll re-share another article I wrote featuring an antique lace bridal veil on display with celebrity connections. ("A Veil of Distinction" was first published in the 2016 spring issue of Season magazine.) Enjoy!

A Veil of Distinction

Wedding veils hold an especially distinctive yet intimate place in a family’s collective memory. Even more than the wedding gown, the family bridal veil has, historically, been the treasure most often passed down and shared with daughters and granddaughters, nieces and cousins.

That was the case with a certain heirloom veil with a most captivating provenance. First worn by Margaret Merritt as an Edwardian bride when she married James Thomas Lee of New York City in 1903, her cathedral-length, rose point lace veil was also worn by her daughters Marion Lee Ryan, Janet Lee Bouvier and Winifred Lee D’Olier. But this veil developed a particular mystique when her granddaughter Jacqueline Bouvier wore it, along with Margaret’s delicate wreath of wax orange blossoms, for her marriage to Senator John F. Kennedy in 1953.

I became intrigued by this veil’s lineage when I learned it was to go on a first-ever display early this year as part of the wedding costume exhibitions on Biltmore Estate in Asheville, North Carolina. The veil’s connection with the Vanderbilt family is through Jackie Kennedy’s cousin, Mary Lee Ryan—“Mimi” wore it when she married George Vanderbilt’s grandson, William Amherst Cecil, in 1957.

Jackie’s only daughter Caroline Kennedy didn’t wear the Lee family veil, but both Mimi’s daughter and daughter-in-law wore it with their 1980’s Diana-era “princess gowns.” I find this is part of the beauty and pleasure of a bridal veil: as fashions change, it can be adapted to wear in various stylish ways; and even as women and their roles change, because of its strong feminine impulse, the bridal veil always carries a precious tradition.

Lace was immensely fashionable for Victorian and Edwardian ladies and, indeed, de rigueur for brides during these gilded decades. Following the creation of “rose point” lace in Brussels in the mid-19^th century—a type of point de gaze needle lace so named because of its lyrical rose design, often with raised petals—this romantic pattern became a favorite of brides. Therefore when well-to-do American women made their grand transatlantic voyages to Europe on the most majestic luxury liner of the day (it was simply the thing to do!), high on their must-do list was to bring back a lace veil from Belgium—all with dreams of a wedding in mind. (Is that how the lovely rose point veil worn by the Lee family brides—and then the Cecils of North Carolina—began its notable pedigree?)

Later when lace was not as popular and travel to Europe was aboard airplanes instead of ships, bringing home a lace wedding veil stayed dear to the hearts of many American women. Perhaps there is one stored away in your family’s “treasure chest”? ~

{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]

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

{A Veil of Distinction}

Dear Bride-to-Be: 

I thought you’d enjoy my article, “A Veil of Distinction,” just published in the spring issue of Season Magazine. Click here to read it online...and I’ve reprinted it below as well.

A Veil of Distinction

Wedding veils hold an especially distinctive yet intimate place in a family’s collective memory. Even more than the wedding gown, the family bridal veil has, historically, been the treasure most often passed down and shared with daughters and granddaughters, nieces and cousins.

That was the case with a certain heirloom veil with a most captivating provenance. First worn by Margaret Merritt as an Edwardian bride when she married James Thomas Lee of New York City in 1903, her cathedral-length, rose point lace veil was also worn by her daughters Marion Lee Ryan, Janet Lee Bouvier and Winifred Lee D’Olier. But this veil developed a particular mystique when her granddaughter Jacqueline Bouvier wore it, along with Margaret’s delicate wreath of wax orange blossoms, for her marriage to Senator John F. Kennedy in 1953.

I became intrigued by this veil’s lineage when I learned it was to go on a first-ever display early this year as part of the wedding costume exhibitions on Biltmore Estate in Asheville, North Carolina. The veil’s connection with the Vanderbilt family is through Jackie Kennedy’s cousin, Mary Lee Ryan—“Mimi” wore it when she married George Vanderbilt’s grandson, William Amherst Cecil, in 1957.

Jackie’s only daughter Caroline Kennedy didn’t wear the Lee family veil, but both Mimi’s daughter and daughter-in-law wore it with their 1980’s Diana-era “princess gowns.” I find this is part of the beauty and pleasure of a bridal veil: as fashions change, it can be adapted to wear in various stylish ways; and even as women and their roles change, because of its strong feminine impulse, the bridal veil always carries a precious tradition.

Lace was immensely fashionable for Victorian and Edwardian ladies and, indeed, de rigueur for brides during these gilded decades. Following the creation of “rose point” lace in Brussels in the mid-19^th century—a type of point de gaze needle lace so named because of its lyrical rose design, often with raised petals—this romantic pattern became a favorite of brides. Therefore when well-to-do American women made their grand transatlantic voyages to Europe on the most majestic luxury liner of the day (it was simply the thing to do!), high on their must-do list was to bring back a lace veil from Belgium—all with dreams of a wedding in mind. (Is that how the lovely rose point veil worn by the Lee family brides—and then the Cecils of North Carolina—began its notable pedigree?)

Later when lace was not as popular and travel to Europe was aboard airplanes instead of ships, bringing home a lace wedding veil stayed dear to the hearts of many American women. Perhaps there is one stored away in your family’s “treasure chest”? ~

{Victoria's Choice}

Dear Bride-to-Be: 

I thought you’d enjoy my article, “Victoria’s Choice,” just published in the winter issue of Season Magazine. Click here to read it from the online magazine...and I’ve reprinted it below as well. ’Tis an excerpt from my new book The End of the Fairy-Tale Bride {Volume One} For Better or Worse, How Princess Diana Rescued the Great White Wedding.

VICTORIA'S CHOICE

If you know one thing about wedding gown history, I would wager that it has something to do with Queen Victoria beginning the fashion for brides wearing white. (And now, thanks to her, it has been a tradition of sorts for 175 years.) But I would also wager that most people don’t know the real reason the 20-year-old monarch broke the precedent set by earlier royal brides—“dressed in their usual cloths of silver or gold”—and chose the color white for her wedding gown. Victoria even chose a crown of fanciful, yet wax orange blossoms instead of one of her dazzling diamond diadems!

Her choices have been regarded as representing simplicity, modesty and purity—and indeed the young queen was sentimental with an “uncluttered fashion preference,” according to costume historian Kay Staniland. However, Victoria was deeply in love, and this became her guiding inspiration for her wedding attire. Therefore, with much consideration—taking into account her duty, her position and her subjects—“the queen decided to make her marriage vows to her ‘precious Angel’ as his future wife rather than as the monarch,” wrote V & A museum curator Edwina Ehrman. So Victoria not only opted against wearing the ornate silver and gold of royalty, but also her regal “crimson velvet robe of state” feeling “it would only emphasize her seniority, and overshadow the role of her future husband,” Staniland added.

Victoria’s all-white bridal costume may have been without the usual glittering royal accoutrements, but it “was actually exquisite and of great value,” explained Maria McBride-Mellinger, author of The Wedding Dress. Underscoring “patriotic spending,” the queen commissioned her country’s renowned textile artisans. The rich silk satin for the gown and its 18-foot court train was woven in Spitalfields and the beautiful, lyrically-patterned lace for her veil and gown embellishments was hand made by two hundred women in a Devon village employed for eight months. The only color Victoria wore was near her heart: a large, brilliant blue sapphire brooch which had been Prince Albert’s wedding gift to her.

On the day of the wedding, Victoria’s adoring subjects happily received their queen’s choices, cheering her carriage on its way to the Chapel Royal at St. James’s Palace. Dressed in these creamy shades of white and tufts of orange blossom, I doubt that Victoria had a sense of the remarkably romantic lineage she was about to inaugurate. Nor could she ever know that her queenly exemplar: “Keep your relationship top priority,” would make fine advice for today’s busy wedding-planning brides. 

It seems for this young bride (who just happened to be ruler of an empire), that it came down to choosing the feelings of her future husband over her own ego. Victoria’s heart-centered choice changed bridal history and, in turn, illuminated the supreme sovereignty of a woman in love. ~

[Enjoy your own copy of The End of the Fairy-Tale Bride {Volume One} For Better or Worse, How Princess Diana Rescued the Great White Wedding....easy to order from Amazon with a speedy delivery!] 

{All Dressed in Vintage White}

Dear Bride-to-Be:
As a costume historian, I often write articles and give talks on a particular fashion from the past and tell stories not only about how it expressed a woman’s style, but also her personal sense of creativity—and how it influenced wedding fashion of that era.

Like the über feminine white “lingerie dresses” popular in the late 1890s into the 19-teens which, ironically, “deftly impersonated a Victorian lady’s ‘unmentionables’” as author Kristina Seleshanko explained.* These dresses were filmy white confections—usually sheer cotton lawn or batiste, even tissue silk—deliciously trimmed with inserts of lace, floral embroidery, and tiny pin-tucks and worn as special-occasion dresses for warm weather soirees and ceremonies (even for outings at the beach!)

Fashionable with laced-up corsets underneath for a hourglass or S-curve silhouette and lushly up-swept ‘Gibson Girl’ hairstyles, high-society ladies wore fancy varieties of “lingerie dresses” to Ascot, spring boat races, or just to promenade in the park, topped with large elaborate hats. But these “little white dresses” were very democratic; with the popularity of the sewing machine, most all women (young and old) were able to wear some version of the favored frock. They also became de rigueur for tea-dances, graduations and other rites-of-passage ceremonies—even as a wedding dress since they were often an Edwardian middle-class girl’s “best dress.”

A bride of the time would add some “bridal-ey” accessories for her wedding day like a wreath of wax orange blossoms as well as tiny bouquets of them pinned here and there on her dress. She would also wear a gossamer tulle or lace veil—perhaps one that had been her mother’s—and of course she’d carry a bouquet of fresh flowers and herbs.

When I had my bridal art-to-wear store in Atlanta in the 1980s and 90s, my designers restored many of these old “lingerie dresses” that I’d found searching antique markets and fairs. Sometimes they were for brides, sometimes for her attendants, but always for someone who had a special eye for such vintage beauty. It was as though you could feel the intimacy of the intricate needlework detail…like you became a part of their feminine legacy.

What are you wearing for your wedding? It may be a brand-new, gorgeous designer creation; or a special gown borrowed from a friend or found at a gently-worn shop; or perhaps it’s indeed a rare vintage dress from another era with its own unique story to tell of romance and mystery! Whatever you’re wearing, remember to add your personal touch that includes a bit of old-fashioned spirit and a heart full of love.

Love. Listen. Let go.

…with love from Cornelia

*ps: Read more about “lingerie dresses” on Kristina’s delightful Vintage Connection website.

 

[Top photo: Courtesy of Historic Mobile Preservation Society]

{The Return of Lace}

Dear Bride-to-Be:

Whether you are wearing a lace gown or just have a bit of lace-trimmed lingerie for your wedding day, lace has a special legacy for brides. So I thought you would enjoy this article I wrote, recently published in the winter issue of Season magazine.
....with love from Cornelia

The Return of Lace

Its early Venetian name, Punta in Aria—“stitches in air”—said it all: ethereal and mysterious. Lace has charmed and bewitched both men and women for centuries, worn as high-status fashion accessories at a time when you were what you wore! When lace became de rigueur for aristocratic brides, it was worn for its prestige (only the rich could afford it) as much as for its beauty (lace always captivated!)

There are stories from centuries past of brides who wore yards and yards of precious handmade needle and bobbin laces—worth a king’s ransom—but modern wedding history starts with Queen Victoria. Big white wedding gowns have been around since she broke with the silvery custom and chose “plain white” for her wedding in 1840. To make a statement—after all she was already queen of an empire—she called on England’s beloved yet faltering lace industry to create deep borders of handmade Honiton lace to trim her dress and silk tulle veil. Of course her wedding was highly publicized so the lace legacy was re-ignited and became associated with brides through the 1950s, highlighted by Grace Kelly’s silk taffeta gown with a fitted antique Brussels lace bodice and high collar. (What 50s-era bride didn’t want to look like a princess?)

Even when lace was out of fashion, it was typical for American women making a voyage “to the continent” to bring back a rose point lace veil from Belgium or Valenciennes lace yardage from France with dreams of a wedding in mind. Through the social upheavals of the 1960s and 70s, lace as well as traditional wedding ceremonies took a back seat until Princess Diana’s royal nuptials turned weddings back into stylish events and romantic, lace-trimmed gowns became the favorite of 1980s brides. (The lace appliquéd on Diana’s corseted bodice once belonged to Queen Mary, Prince Charles’ great-grandmother.)

In the 1980s and 90s, my bridal art-to-wear shop in Atlanta followed this practice of incorporating vintage laces into new gowns—“elegant recycling” as one of my designers called it. When creating Lady Mary’s wedding dress, Downton Abbey’s costume designer used this technique by repurposing an antique lace veil she found; it became the centerpiece in a delicate crystal-trimmed, tabard-style silk chiffon confection inspired by royal brides of the early 1920s.

Of course the most memorable lace revival was Kate Middleton! Her sweeping designer wedding gown with its sheer long sleeves and lace trimmed bodice and skirt—laces handmade by artisans at the Royal School of Needlework at Hampton Court Palace—set the fashion runways abuzz. Other royal brides followed suit with sumptuous dresses of the finest machine-made laces: Sweden’s Princess Madeleine married this year wearing a Valentino pleated silk organza gown with an open lace bodice; Princess Stephanie and Princess Claire of Luxembourg royalty both recently wore dreamy Elie Saab couture gowns with crystal- and pearl-encrusted Chantilly lace like something out of the most shimmering fairytale … and something only lace’s mystical filigree nature could inspire. □

[This is a reprint of my article, "The Return of Lace," featured in the winter 2013-2014 issue of Season magazine. To read it in the magazine's layout online, scroll to page 46.]