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bbcbreakingnews · 4 years ago

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Buckingham palace shares TWO new photos of Princess Beatrice and Edoardo from their special day

Princess Beatrice and Edoardo Mapelli Mozzi tied the knot in a surprise secret ceremony at All Saints Chapel in Windsor on Friday, and on Sunday, Buckingham Palace shared two new pictures from the special day.

Taking to Instagram, the official Royal Family account penned: ‘Her Royal Highness Princess Beatrice of York and Mr. Mapelli Mozzi have been touched by the warm wishes they have received since their wedding, and are delighted to share two additional photographs of their happy day.’

‘The pictures show Princess Beatrice and Mr Mapelli Mozzi in the grounds of Royal Lodge after their wedding.’

However, just moments before, Italian property developer Edo had shared the very same snaps to his own social media account before swiftly taking them down – but not before excited royal fans had the chance to screengrab them and share them widely across social media first.

In one of the new photographs, the happy couple can be seen holding hands and beaming as they walk through the grounds of the Royal Lodge, while a second shows the pair standing side-by-side, with Edo gazing lovingly at his new wife.

And many were quick to take to the comments section following the post, with one gushing: ‘Oh my goodness,’ while a second penned: ‘Love, love, love.’

A third added: ‘The most beautiful dress ever,’ while a fourth commented: ‘A real fairytale princess.’

It comes 24 hours after Buckingham Palace released the first of Princess Beatrice’s official wedding pictures, the day after she tied the knot to Edo.

Beatrice, 31, and Edo, were due to tie the knot at the Chapel Royal of St James’s Palace, in London, on 29 May. But their ceremony was postponed due to Covid-19 and no new date was given by the palace at the time.

The couple confirmed the happy news Friday, but postponed sharing the photos until Saturday, so as not to overshadow Captain Tom Moore, who was knighted on Friday.

Princess Beatrice and Edoardo Mapelli Mozzi tied the knot in a ceremony on Friday, and on Sunday, the Royal family Instagram account shared two new photographs for the couple’s special day. The post came shortly after Edo had posted the same snaps – before swiftly removing them

In one of the new photographs, the happy couple can be seen holding hands and beaming as they walk through the grounds of the Royal Lodge (pictured)

The three previous photos show Beatrice and Edo posing standing in the flower-adorned arch of the Royal Chapel of All Saints, in the grounds of Prince Andrew and Sarah Ferguson’s home of Royal Lodge in Windsor Great Park.

Notably Prince Andrew is not in the photos, with the Queen and Prince Philip standing at a suitable social distance from the happy couple in another photo.

Proud grandparents the Queen, 94, and the Duke of Edinburgh, 99, were among the roughly 20 guests who watched the couple exchange vows at 11am yesterday morning.

Beatrice opted for a a vintage dress by Norman Hartnell, on loan from Her Majesty The Queen.

The stunning tiered wedding dress featuring a fitted bodice encrusted with a drop-pattern of jewels, and boasting retro, semi-sheer puff sleeves.

The ivory gown featured bejewelled straps and a flattering bustier, running into a ruffled floor-length skirt, and the royal wore her hair styled into a layered side-parting.

Beatrice’s floor-length veil was notably attached to one of the Queen’s favourite tiaras, made by fine jewellery house Garrard in 1919 from a necklace given to Mary as a wedding present, before it was given to the Queen Mother in 1936 and later loaned to Princess Elizabeth and Princess Anne for their wedding days.

The dazzling tiara was designed to look like a fashionable Russian headdress with 47 diamond bars.

Lending Beatrice the tiara worn by the Queen is thought to be a huge honour, as the monarch’s jewels are usually borrowed by members of the royal family according to pecking order.

The dazzling tiara was designed to look like a fashionable Russian headdress with 47 diamond bars.

Lending Beatrice the tiara worn by the Queen is thought to be a huge honour, as the monarch’s jewels are usually borrowed by members of the royal family according to pecking order.

Meanwhile, Edo wore a three-piece suit complete with pale pink tuxedo, coordinating with Beatrice’s bouquet.

The Queen looked resplendent in a turquoise suit dress and matching hat, wearing her beloved pearl necklace for the occasion.

Royal fans were quick to take to Twitter following the post, with one branding Beatrice a ‘real fairytale princess’ (pictured)

Buckingham Palace released Princess Beatrice’ss official wedding pictures on Saturday, the day after she tied the knot to Italian property developer Edo Mapelli Mozzi in a surprise ceremony. The stunning photos show Beatrice and Edo posing standing in the flower-adorned arch of the Royal Chapel of All Saints, in the grounds of Prince Andrew and Sarah Ferguson’s home of Royal Lodge in Windsor Great Park

Notably Prince Andrew is not in the photos, with the Queen and Prince Philip standing at a suitable social distance from the happy couple in another photo. The Queen looked resplendent in a turquoise suit dress and matching hat, wearing her beloved pearl necklace for the occasion.

Princess Beatrice was given the ultimate honour for her low-key wedding day to Italian property developer Edo Mapelli Mozzi on Friday, right, stepping out in the same Mary Fringe tiara worn by the Queen (left) when she married Prince Philip in 1947

Princess Eugenie’s wedding to Jack Brooksbank: All the details

The Bride’s dress and jewellery

Princess Beatrice wore a vintage dress by Norman Hartnell, on loan from Her Majesty The Queen.

The dress is made from Peau De Soie taffeta in shades of ivory, trimmed with ivory Duchess satin, with organza sleeves. It is encrusted with diamanté and has a geometric checkered bodice. It was remodelled and fitted by Miss Angela Kelly and Mr Stewart Parvin.

Princess Beatrice wore the Queen Mary diamond fringe tiara, on loan from Her Majesty The Queen. The tiara was worn by The Queen on Her Majesty’s wedding day. The tiara was originally made for Queen Mary by Garrard and Co. in 1919, from a diamond necklace given by Queen Victoria for her wedding.

The Bride’s bouquet

Princess Beatrice carried a bouquet of trailing jasmine, pale pink and cream sweet peas, royal porcelain ivory spray roses, pink o’hara garden roses, pink wax flower and baby pink astible. In keeping with Royal tradition sprigs of myrtle were included in the bouquet. Thebouquet was made by Patrice Van Helden, co owner of RVH Floral Design. The couple would like to thank the gardening teams at The Savill Garden and Windsor Great Park.

The Bride’s bouquet has been placed on the tomb of the Unknown Warrior in Westminster Abbey.

The Groom’s outfit

The Groom wore a morning suit.

The Service

The ceremony was officiated by The Reverend Canon Paul Wright, Sub-Dean of the Chapel Royal and The Reverend Canon Martin Poll, Domestic Chaplain to Her Majesty The Queen.

In line with government guidelines, all social distancing measures were adhered to.

The service included two of the couple’s favourite poems, read by their Mothers, and a biblical reading. These were; Sonnet 116 by William Shakespeare; “I carry you in my heart” by E.E. Cummings; and St. Paul’s First Letter to the Corinthians Chapter 13, verses 1-13. Prayers were said.

In accordance with government guidelines, no hymns were sung, but a selection of music was played. The National Anthem was played but not sung.

Guests

The ceremony was attended by Her Majesty The Queen and His Royal Highness The Duke of Edinburgh, the couple’s parents and siblings. The Bride was walked down the aisle by her Father. Mr. Mapelli Mozzi’s son Wolfie was best man and pageboy.

The Rings

Princess Beatrice’s ring was designed by Shaun Lane. Mr. Mapelli Mozzi’s ring is a vintage gold band designed by Josh Collins.

The couple chose to have an intimate ceremony attended by just ‘close family’, according to a statement released yesterday afternoon by Buckingham Palace. The bride’s parents, Prince Andrew and the Duchess of York as well as her sister Princess Eugenie, 30, are thought to have been included. On marriage Beatrice becomes a stepmother to Edo’s son Christopher, known as Wolfie, who is also thought to have attended.

The Queen, who has now watched six of her eight grandchildren wed, shared her joy in a conversation with Captain Sir Tom Moore, whom she knighted at Windsor Castle just hours after the nuptials. She told Sir Tom and his family: ‘My granddaughter got married this morning both Philip and I managed to get there – very nice.’

The chapel, which can accommodate 180 people, was an ideal choice for social distancing, especially given the bride’s grandparents are both in their 90s and in a high risk group. Weddings of up to 30 people are allowed under current government guidelines. The reduced guest list means that the couple will have to celebrate with celebrity friends such as Ellie Goulding, Karlie Kloss and Cressida Bonas at a later date.

Flowers from well-wishers were seen being unloaded from vans after the wedding, as Buckingham Palace confirmed no reception or other event was taking place.

A statement released by the palace said: ‘The small ceremony was attended by The Queen, The Duke of Edinburgh and close family. The wedding took place in accordance with all relevant Government guidelines.’

It is understood the couple will not be releasing a wedding photo because they do not want to overshadow the investiture of Captain Tom Moore, who received his knighthood from the Queen at Windsor Castle this afternoon.

The Queen’s wedding tiara : The Queen Mary Fringe tiara

The Queen has a huge collection of tiaras. She wore her mother’s tiara for her wedding day (pictured), it was created for Queen Mary in 1919 from a diamond necklace

The Queen has a huge collection of tiaras, although she once complained, ‘One can’t really dance in a tiara.’

One of her favourites – the ‘something borrowed’ from her mother that she chose to wear for her wedding – is the Queen Mary Fringe tiara, created for Queen Mary in 1919 from a diamond necklace given to her by Queen Victoria and shaped like a kokoshnik, a Russian headdress.

Queen Mary later gave it to her daughter-in-law, the future Queen Mother.

But on the morning of our Queen’s wedding the tiara snapped and had to be rushed for emergency repair. The mend is just visible in the Queen’s wedding photos.

Kate Middleton wore the Cartier ‘halo’ tiara, left, made in 1936 and purchased by King George VI for his wife Queen Elizabeth three weeks before he succeeded his brother as King, for her 2011 wedding to Prince William. Right, the late Queen mother

Meghan Markle wore an exquisite Art Deco tiara, the Queen Mary Diamond Bandeau (left) for her 2018 wedding to Prince Harry, while right, Princess Eugenie wore the Greville Emerald Kokoshnik Tiara, created by Boucheron in the Russian imperial ‘kokoshnik’ style for society host Margaret Greville in 1919

As a young bride in 1947, Princess Elizabeth paired Queen Mary’s Fringe tiara with her flowing Norman Hartnell gown, made from ivory duchesse satin and embroidered with 10,000 pearls.

But it was very nearly a source of embarrassment. Just before she left for Westminster Abbey, the tiara snapped, and the court jeweller had to rush in for emergency repairs.

The tiara, made by Garrard in 1919 from a necklace given to Mary as a wedding present, was given to the Queen Mother in 1936 and later loaned to Princess Elizabeth and Princess Anne for their wedding days.

Much like the Kokoshnik tiara, it was designed to look like a fashionable Russian headdress with 47 diamond bars.

Tiaras in this style were particularly popular in the first half of the 20th century, and the Queen inherited it on her mother’s death in 2002.

It can also be worn as a necklace, though the Queen has never done so in public. The tiara has been seen only occasionally of late, most recently on a trip to Trinidad in 2009.

The Queen shares her jewellery with family members, but there’s a pecking order.

Kate Middleton wore the Cartier ‘halo’ tiara, made in 1936 and purchased by King George VI for his wife Queen Elizabeth three weeks before he succeeded his brother as King, for her 2011 wedding to Prince William.

The tiara was presented to Princess Elizabeth, now the Queen, by her mother on the occasion of her 18th birthday.

The Duchess of Cambridge favours the Cambridge Lover’s Knot tiara (left in 2018), made for Queen Mary. It was Diana’s favourite too (right in 1991), although she found it heavy to wear

Princess Beatrice has married Italian property developer Edoardo Mapelli Mozzi in a secret ceremony at Windsor Castle. Pictured, a photo released to announce their engagement

The bride’s grandparents the Queen, 94, and the Duke of Edinburgh, 99, who have both been in isolation at Windsor Castle, were in attendance and appeared in excellent spirits as they left the service, pictured

It is likely the bride’s parents, Prince Andrew and the Duchess of York, both attended as the service was held in the grounds of their home. Pictured, Prince Andrew on Wednesday

The chapel is on the grounds of the Royal Lodge, where the Duke and Duchess of York have been staying in lockdown

Flowers from well-wishers were seen being unloaded from vans after the wedding, as Buckingham Palace confirmed no reception or other event was taking place

A local florist, which has been used for a number of Royal events, was again called upon to deliver bouquets this afternoon

Flowers and boxes were being unloaded from vehicles outside the gates of the park following the wedding earlier in the day

The dashing Italian property developer who won Bea’s heart: Father-of-one Edoardo Mapelli Mozzi, 37, is a long-time family friend who swept her off her feet

Princess Beatrice has married Italian property developer Edoardo Mapelli Mozzi in secret at Windsor Castle

Princess Beatrice married fiance Edoardo Mapelli Mozzi in a secret wedding in Windsor earlier today – but who is the man that stole the royal’s heart?

The happy couple were due to wed at the Chapel Royal at St James’s Palace in London with 150 guests on May 29, but Covid-19 meant they had to postpone their big day.

Having kept their plans quiet, they tied the knot this morning in front of just 20 guests including the Queen, 94, and Prince Philip, 99, at All Saints Chapel in Windsor Great Park.

Beatrice, 31, and Edo, 37, are long-time family friends, but started dating in October 2018 and got engaged in September last year.

The pair said of their 11-month whirlwind romance in a statement: ‘We are extremely happy to be able to share the news of our recent engagement.

Property developer Edoardo is the son of former Olympic skier Count Alessandro Mapelli Mozzi and Nikki Shale, and has been a friend of the Yorks for some time. The father-of-one has a son, Christopher, with his former partner Dara Huang. He’s said to enjoy an amicable relationship with Huang and prides himself on still being an active part of his son’s life. Edoardo was educated at the prestigious Radley school in Oxfordshire before studying for a Master’s in politics at Edinburgh.

He is believed to have known Beatrice for years, the royal attended the funeral of Edoardo’s stepfather, Christopher Shale, who died at of a heart attack at Glastonbury in 2011; Shale was a close friend of David Cameron.

Father-of-one Edo has a young son, Christopher, whose nickname is Wolfie, with his former partner Dara Huang – meaning Beatrice is now a stepmother. Right, Beatrice with Edo

Edo and Beatrice are understood to have planned the day with the safety of the Queen in mind. The Queen and Prince Philip have been in isolation at Windsor Castle since the start of lockdown.

A friend told the Sun they chose All Saints Chapel because it is just a short three-mile drive from the castle, making it easy for the Queen to attend. They also chose a date before the Queen makes her annual trip up to Balmoral at the end of the month.

The friend added: ‘So many guests were disappointed not to make the big day but understood the reason for it.

‘They needed to make the wedding Covid-secure and safe for the Queen so what better way than the All Saints Chapel with reception on site at the Royal Lodge.

‘They are just like a normal family and had to make sacrifices like many others have up and down the country and looking forward to having a wonderful celebration when the time is right.’

Edo is the son of Nikki Shale and Italian former Olympic skier Count Alessandro Mapelli Mozzi. Nikki split with Mapelli Mozzi when Edo was young, while her second husband Christopher Shale, a senior Tory and a close friend of former prime minister David Cameron, died of a heart attack at Glastonbury Festival in 2011.

Photos show Her Majesty looking resplendent in green as she left Royal Lodge today. The Queen, 94, has now watched six of her eight grandchildren tie the knot

It is thought the couple exchanged vows today at the Royal Chapel of All Saints, in the grounds of Prince Andrew and Sarah Ferguson’s home of Royal Lodge, in Windsor Great Park. Pictured, the Queen and Duke of Edinburgh leave the Royal Lodge following the service

A VERY low-key royal wedding: How Beatrice’s nuptials are a far cry from the lavish ceremonies enjoyed by Princess Eugenie and the Duchess of Sussex

THE VENUE

THE DUCHESS OF SUSSEX AND PRINCESS EUGENIE: ST GEORGE’S CHAPEL

The Duchess of Sussex and Princess Eugenie both tied the knot in lavish ceremonies at St George’s Chapel, Windsor Castle

Princess Eugenie and Jack Brooksbank leave St George’s Chapel, Windsor on their wedding day

The Duchess of Sussex and Princess Eugenie both tied the knot in lavish ceremonies at St George’s Chapel, Windsor Castle. The venue was also chosen by Lady Gabriella Windsor.

Steeped in history, the 15th century Gothic chapel offers royal couples a slightly more intimate venue for their wedding, but one that is still appropriately grand.

It usually holds around 800 guests, compared with the 2,000 capacity of Westminster Abbey, where the Duke and Duchess of Cambridge married in 2011.

Located within the castle’s grounds and surrounded by the Horseshoe Cloisters and the Henry VIII gate, the venue provides the royal family with a certain amount of privacy on the day of the wedding.

PRINCESS BEATRICE: CHAPEL OF ALL SAINTS

The modest chapel, which was refurbished by George IV in the 1820s, is significantly smaller than St George’s Chapel where her sister Eugenie wed last year with a capacity of just 180 guests.

The chapel is on the grounds of the Royal Lodge, where the Duke and Duchess of York have been staying in lockdown.

According to the St George’s parish website, the Queen normally worships at the Chapel of All Saints for reasons of privacy.

She attends services at the larger St George’s Chapel, where Prince Harry and Meghan wed in 2017, on certain special occasions, such as the Easter morning service every year.

The All Saints Chapel has also been home to more intimate gatherings throughout the royal’s history, including the Queen mother’s funeral in 2002.

The Queen mother lived in the Royal Lodge as a widow and would regularly attend service there, as it’s only 100 yards from the entrance. Queen Victoria also attended services in the chapel.

The modest Chapel of All Saints, which was refurbished by George IV in the 1820s, is significantly smaller than St George’s Chapel where her sister Eugenie wed last year with a capacity of just 180 guests

THE GUEST LIST

THE DUCHESS OF SUSSEX AND PRINCESS EUGENIE: CELEBRITIES, SPORTING STAR, ARISTOCRATIC PALS AND EXTENDED FAMILY

The congregation for Prince Harry and Meghan Markle’s wedding in May 2018 read like a who’s who of Hollywood royalty, with Amal and George Clooney (left) and Oprah Winfrey (right) among those invited

Also in attendance was Meghan’s glamorous girl gang, including Priyanka Chopra, Abigail Spencer, Jessica Mulroney and Misha Nonoo. Pictured, Abigail Spencer (front left) and Priyanka Chopra (front right) with fellow guests at the wedding

The Duchess of Sussex and Princess Beatrice both had star-studded weddings with hundreds of guests.

The congregation for Prince Harry and Meghan Markle’s wedding in May 2018 read like a who’s who of Hollywood royalty, with Oprah Winfrey and Amal and George Clooney among those invited. Also in attendance was Meghan’s glamorous girl gang, including Priyanka Chopra, Abigail Spencer, Jessica Mulroney and Misha Nonoo.

The large guest list also allowed for large numbers of extended family to be invited, with Kate Middleton’s siblings and their respective partners all making the cut.

Princess Eugenie and Jack Brooksbank’s nuptials were just as starry, with Ellie Goulding, Robbie and Ayda Williams all attending.

Their well-heeled circle of friends were also well represented, with Sir Richard Branson’s daughter Holly and Prince Harry’s ex-girlfriends Chelsy Davy and Cressida Bonas all at the chapel.

PRINCESS BEATRICE: CLOSE FAMILY ONLY

Princess Beatrice and Edo would have been allowed a maximum of 30 people at their wedding due to ongoing government restrictions. Photos reveal the Queen and the Duke of Edinburgh were among those attended and it is likely the bride’s grandparents would have been among the congregation.

However the restricted numbers mean it is a far less starry affair than they otherwise might have hoped and there will have been fewer members of the royal family in attendance.

Prince William and the Duchess of Cambridge, for example, might have remained in Norfolk, rather than travel down with their three children, Prince George, Princess Charlotte and Prince Louis. Prince Charles and the Duchess of Cornwall are celebrating Camilla’s 73rd birthday privately in Wiltshire and so would not have attended.

The bride’s other cousins, including Zara Tindall and Peter Phillips, would also likely missed out due to the small numbers. The pair and their families would have attended a larger ceremony.

It is not known if Prince Harry and Meghan Markle would have flown over from LA for the larger affair, but they almost certainly did not make the journey for the more intimate service.

THE CELEBRATIONS

THE DUCHESS OF SUSSEX AND PRINCESS EUGENIE: CARRIAGE PROCESSIONS, TWO WEDDING RECEPTIONS AND A DAY TWO PARTY FOR EUGENIE

Both Princess Eugenie and Meghan Markle began married life with a carriage procession around Windsor to greet royal fans and wellwishers.

After Meghan and Harry tied the knot, the Queen hosted a lunchtime reception at Windsor Castle for 600 guests, who were served canapes, champagne and wedding cake.

The bride then changed into her second dress – a Stella McCartney halter neck gown – and partied the night away with 200 guests at an evening reception for 200 people, hosted by Prince Charles at Frogmore House.

Princess Eugenie took things one step further, eclipsing even Meghan and Harry’s glamorous nuptials with two days of partying.

Similar to Harry and Meghan, the couple enjoyed a lunchtime reception at St George’s Hall for 850 guests with finger food and champagne, hosted by the Queen.

The couple enjoyed an evening reception with a sit-down meal and dancing at the Royal Lodge in Windsor, the Princess’ family home, where festivities went on until the early hours.

Prince Harry and Meghan Markle enjoyed an evening reception for 200 guests at Frogmore House after their wedding, with the bride earing a Stella McCartney gown. Princess Eugenie and Jack Brooksbank at Royal Lodge, Windsor, ahead of the private evening dinner following their wedding. Princess Eugenie’s evening dress was designed by Zac Posen

PRINCESS BEATRICE: PARTY AT A LATER DATE

While a carriage procession was never on the cards for Princess Beatrice, who was always planning a more low key celebration, the rest of her festivities have been even more subdued than expected.

While the couple will no doubt celebrate with their families, Beatrice and Edo will have to wait for a later date to party with friends.

And the Queen was unable to linger after the wedding ceremony to spend time with the newlyweds.

This afternoon Her Majesty was back on duty bestowing Captain Tom Moore with a knighthood, her first official public engagement since lockdown in March.

Beatrice, 31, and Edo are long-time family friends, but started dating in October 2018 and got engaged in September last year. Proud mother was among those who shared their delight at news of the match.

The couple had been due to tie the knot in front of 150 guests in the Chapel Royal at St James’s Palace in London on 29 May, with a lavish reception planned for the garden of Buckingham Palace.

Despite the cloud of controversy surrounding Prince Andrew’s relationship with paedophile Jeffrey Epstein, it is thought the father of the bride still planned to walk his daughter down the aisle.

Princess Beatrice with sister Princess Eugenie and parents Sarah Ferguson and Prince Andrew

However, like so many couples around the world, Beatrice and Edo’s plans were thrown into disarray when the UK went into lockdown on March 23. It emerged shortly afterwards that the couple had postponed their plans, although no new date was confirmed.

It would seem the couple took the decision to marry in a small, intimate service with only their closest friends and family, rather than wait to reschedule.

Princess Beatrice spent lockdown with Edo and future mother-in-law Nikki Shale at her £1.5 million country house near Chipping Norton.

Eugenie, Sarah Ferguson and Prince Andrew were all in isolation at the Royal Lodge.

Edo is said to enjoy an amicable relationship with his ex, Huang and prides himself on still being an active part of his son’s life.

Princess Beatrice’s modest wedding venue: How the bride and groom wed in a royal chapel in the grounds of her parents home

The modest chapel, which was refurbished by George IV in the 1820s, is significantly smaller than St George’s Chapel where her sister Eugenie wed last year with a capacity of just 180 guests.

The chapel is on the grounds of the Royal Lodge, where the Duke and Duchess of York have been staying in lockdown.

According to the St George’s parish website, the Queen normally worships at the Chapel of All Saints for reasons of privacy.

The modest chapel, which was refurbished by George IV in the 1820s, is where Princess Beatrice tied the knot to Edoardo Mapelli Mozzi today

She attends services at the larger St George’s Chapel, where Prince Harry and Meghan wed in 2017, on certain special occasions, such as the Easter morning service every year.

The All Saints Chapel has also been home to more intimate gatherings throughout the royal’s history, including the Queen mother’s funeral in 2002.

The Queen mother lived in the Royal Lodge as a widow and would regularly attend service there, as it’s only 100 yards from the entrance.

Queen Victoria also attended services in the chapel.

A record of her attendance in March 1842 recalls her saying: ‘Everyone joined in the singing, which I so much like.

‘Afterwards we walked to the Royal Lodge, and in the garden which is very pretty’.

Meet Beatrice’s new in-laws! Royal already enjoys a close relationship with Edoardo’s former Olympian father and even spent lock-down with her new husband’s VERY well-connected mother

So comfortable is Princess Beatrice is the company of her new in-laws that the royal, who has wed boyfriend Edoardo Mapelli Mozzi, 37, in a secret ceremony, she spent lock-down with her

Newlyweds Beatrice and Edo spent lockdown with her at mother-in-law Nikki Shales £1.5 million country house near Chipping Norton.

She used to run a property company and was awarded an MBE by David Cameron as a parting gift following his resignation at Prime Minister in 2016.

The couple, who were set to marry next week, are staying with Edo’s mother Nikki Shale at her £1.5 million home in Chipping Norton (pictured, Nikki)

Beatrice’s new father-in-law holds both British and Italian citizenship and competed for Great Britain as a skier at the 1972 Winter Olympics

Property developer Edoardo, 34, is the son of former Olympic skier Count Alessandro Mapelli Mozzi and Nikki Shale, and has been a friend of the Yorks for some time. Edoardo was educated at the prestigious Radley school in Oxfordshire before studying for a Master’s in politics at Edinburgh.

Princess Beatrice, 31, and Edo, 37, who were due to get married next week, have not joined the rest of the York family for the quarantine period.

Speaking on the City Island podcast, Fergie explained: ‘Edo and Beatrice have been living with her future mother-in-law who is lovely…I’m missing my [other] daughter but it’s just like everybody else, we are just the same family as everybody else.’

Princess Eugenie and Jack normally live in an apartment at Kensington Palace in London but have now moved in with Prince Andrew and Fergie at their home of the Royal Lodge in Windsor.

Nikki was married to Christopher Shale, a senior Tory and a close friend of former Prime Minister David Cameron, before his death at Glastonbury Festival (pictured, Edo with Nikki and David Cameron in 2011 after the memorial service)

Sarah opened up about bonding with Princess Eugenie over the last few months, saying: ‘During this lockdown period I’ve really loved spending more time with Eugenie and Jack.

‘My daughter got married to Jack in, oh goodness, was it last October? No, it was October before, heavens!’

‘And so, of course once she’s gone to get married they live away. So, I haven’t seen her so much and so now it’s been a total joy to spend real quality time with her,’ she said.

‘And, first time in 30 years I even baked a lemon drizzle cake with her, so the first thing is that it’s fantastic,’ she added.

She later revealed she felt ‘sad’ that Princess Beatrice’s nuptials, which were due to take place next week in St James’ Palace, had been postponed due to the pandemic.

She said: ‘It’s sad for me that Beatrice, she was going to get married next week, but they postponed the wedding.

‘Edo and Beatrice have been living with her future mother-in-law who is lovely. Great friend of mine.

‘But I’m missing my other daughter but it’s just like everybody else, we are just the same family as everybody else.’

Nikki split with Count Alessandro Mapelli Mozzi when Edo was young, while her second husband Christopher Shale, a senior Tory and a close friend of former prime minister David Cameron, died of a heart attack at Glastonbury Festival in 2011.

His stepfather and Nikki’s second husband was Christopher Shale (pictured), a senior Tory and a close friend of former prime minister David Cameron. He died in 2011

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slowgarments · 4 years ago

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THE SUSTAINABLE SISTERS SAGA. Where we meet a few of you from this gorgeous community from different walks of sustainable fashion backgrounds ... 👑So, let us know your name first ?! ⠀ Name is ellie! @elliecampbellkilner⠀ 👑And what was you up to this day? 🌱⠀ It was a gorgeous sunny day and I couldnt wait to take a day off working inside just to sunbathe. I am just in my house and garden in sunny Leeds.⠀ 👑Ah sounds so relaxing! What are you wearing from SG? 👙 ⠀ I’m wearing the Recycled Bandeau Top and High Waisted Thongs! ⠀ 👑So what led you to a sustainable fashion journey? 👑⠀ I’m drawn to sustainable fashion always, I love second hand and charity shops and handmade pieces like this bikini. My mum is someone who always held me accountable for buying fast fashion items and poor quality unethical clothes. I also am trying to reduce my carbon footprint and buying handmade, recycled and sustainable fashion is one way I’m doing that. ⠀ 👑When did your sustainable fashion journey start? 🧚🏼‍♀️⠀ I would say my sustainable fashion journey probably started January 2018 when I moved to Edinburgh for uni just around the corner of some awesome charity shops and a vintage clothes shop. Although I still do buy brand new items from some unsustainable places I’m trying to reduce that and consider my shopping a lot more.⠀ 👑So, what do your friends think about your sustainable fashion journey? Do they still buy fast fashion? 👩🏽‍🤝‍👩🏻⠀ My friends are mixed! Some still buy a lot of fast fashion and some love second hand things. My flatmates in Edinburgh and I often go on charity shop trips together and we try buy stuff from those. Actually the orange adidas shorts I have on in one of the pictures were £4 from Shelter!⠀ 👑Have you broken up with fast fashion .. or not get? 💔⠀ I haven’t broken up with fast fashion, but I am really trying to reduce my consumption of it, especially at the moment when small businesses need and deserve the custom and attention more.⠀ 👑Fave SG piece!?🧵⠀ Fave SG piece is this bikini because it’s the only thing I have! But I would love to get one of the dresses and more styles of bikinis ! Advice for sustainable sisters in the comments 💚 (at East Sussex) https://www.instagram.com/p/CAkgrrZgGz-/?igshid=1walnx1cr9lc3

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benjaminhugo · 1 month ago

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How About Elevating Your Look through a Vintage Ralph Lauren Gem?

Wear vintage sportswear and knits to hold timeless style. The allure of antique knitwear is unmatched when it originates to classic design. Vintage knitwear is a wardrobe main since it is perfect for layering and offers a touch of modification and warmth. From relaxed sweaters to fashionable cardigans, these clothes have characteristic textures and patterns that make them stand out from the gathering. For a laid-back style, group your favorite vintage sweater with jeans, or dress it up for a special occasion by fitted pants.

There has also been a rise in interest for retro sportswear. These items, which blend comfort and style, are perfect for both casual outings and sports activity. Vintage Nike is one of the main brands in this category. Vintage sportswear gives you the opportunity to embrace an active lifestyle and create a stylish statement with its vibrant colors and retro designs.

By Vintage Ralph Lauren & Vintage Shirts, Find Unusual Treasures Consider adding a vintage Ralph Lauren item to your collection if you need to improve your look. Vintage Ralph Lauren clothing is illustrious by its excellent artisanship and sophistication and is recognized for its old-style American look. These pieces, which range from casual polo shirts to fitted blazers, are appropriate for some setting.

Don’t forget about the appeal of antique shirts in addition to Ralph Lauren. Vintage shirts come in a plethora of styles and materials, so you can wear them with everything. Choose a loose flannel for a more casual attitude or a sharp button-down for a more put together presence. Your everyday look gains personality and uniqueness when you incorporate antique shirts into your collection.

Wear Vintage and Retro Rugby Shirts to Revel Your History Retro and Vintage Rugby Shirt are great choices if you are looking for a sporty yet chic look. These shirts, which have traditional motifs and vibrant stripes that have a timeless appeal, are ideal for informal gatherings and sporting events. They appear casual and sporty when worn with jeans or chinos, and they fit comfortably.

Wear old sweatshirts and old North Face clothing to stay warm. Vintage sweatshirts are the perfect combination of fashionable and comfortable wear when the temperature drops. These sweatshirts are faultless for lazing or running errands because of their unique designs and comfortable fabrics. They add an air of nostalgia to any laid-back ensemble.

Discover the Flair of Leeds Vintage Clothes Sale and Other Places A Leeds Vintage Clothing Sale is a fantastic place to get one-of-a-kind pieces if you’re itching to explore these classic looks. Similar sales in Glasgow Vintage Clothing Sale, Edinburgh Vintage Clothing Sale, Liverpool Vintage Sale, and Cardiff Vintage Sale also present wonderful chances to discover antique treasures. You can easily discover anything from vintage knitwear to retro rugby shirts in each location, as a varied range of dealers showcase their well curated selections. Elevate your look right now by embracing the allure of antique clothing!

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kentonramsey · 4 years ago

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We Photographed 15 People In The Outfit They’ll Wear When Lockdown Lifts

It’s easy to brush it off as one of the more trivial aspects of lockdown life but our changing approach to dressing over the past few months has affected everything from productivity to our sense of self. We embraced loungewear with open arms at first but as it became apparent that this was indeed The New Normal™, the novelty wore off and we grasped at small things – jewellery and lipstick for Zoom meetings, a joyful blouse for the big food shop – to reestablish some semblance of normality in our daily lives.

We may not be dancing in our favourite club or having dinner parties with friends in the near future but as lockdown restrictions start to ease (for now), we’ve been ruminating on the outfit we’ll wear when life resumes. We can’t know with any certainty what that life will look like, but we can dream up the ‘fit we’ll don when it’s time.

Our curiosity about how other people have been dressing led us to work with photographer Poppy Thorpe on this lockdown photo series. She used her one hour of daily exercise to cycle around her native Brighton and take socially distanced photos of people wearing the looks they’ll dress in when they’re out and about in the real world once more. From colours that inspire confidence to getting reacquainted with a favourite pair of jeans, here’s what they can’t wait to wear again.

Yolande, 21

“My approach to dressing is pretty eclectic but I still try to keep it simple. I wear a lot of statement jewellery as I study 3D design and craft at uni, so most of the week I’m in steel-toe boots and workshop clothes. At weekends or if I’m going out I normally just add some more accessories and a bit of colour. In lockdown I have started to wear more of my ‘nice clothes’ by mixing them up with a lot of comfy stuff too. I have tried to make an effort with my appearance, even if I’m going to the shops. Now when I get ready it feels like I’m dressing up for myself and I worry less about other people’s opinions. I have so many clothes that are only for special occasions, it now seems silly not to wear them as the events I have been saving them for are all cancelled anyway. One plus side to lockdown is having the time to focus on the things I really enjoy doing: I love being more active and taking time out of the day to be creative for myself.

I’m wearing a colourful kimono I got in a charity shop a few years ago; I’ve worn it to festivals and parties over the years but have never really felt confident enough to wear it out in general. Every time I put it on it makes me happy as it reminds me of so many memories. I picked it as I’m trying to embrace colour more and be confident in being bold. The plain black trousers are a pair I keep for smart days. They’re not my favourite pair of trousers but I like the simple shape and they’re black, so they go with most things. They’re just really comfy and that’s been important to me during lockdown. I love how comfy this ribbed halterneck top is. I’ve actually stopped wearing bras a lot recently and this is one of the tops that has replaced them for me while staying home. My white Dr. Martens are one of my favourite pairs of shoes; I’ve just been in trainers recently so I am very excited to get back into them. I bought them with the money from my first job nearly six years ago, so they have done well in lasting this long.”

Susan, 38

“I always want to feel comfortable and relaxed. I wear a lot of worn-in vintage and a few well-made new pieces. I put thought into getting dressed in the morning and then don’t really want to think about it for the rest of the day. I’m always inspired by the Instagram accounts Chinatown Pretty and Gramparents. My style hasn’t changed massively since lockdown. I had just moved to Edinburgh to start a new job but I came back to Brighton to work remotely and be with my husband, so I’ve got much less choice but I’m still really enjoying putting an outfit together in the morning. Even if it’s sweatpants, it’s still considered and gets me in the right mindset for the working day in my makeshift office! It’s been a good distraction. One positive to come out of lockdown has been spending time with my husband Neil and our cat Baby. We’d been living apart for about three months and likely will again after lockdown. I’m trying to make the most of the weird circumstances.

I wore this look because I miss layering and wearing denim! My jeans were the first thing I put in my suitcase to come here, but I think I’ve had them on for about two hours total since I arrived seven weeks ago. They’re vintage Levi’s that I bought on eBay after having a saved search for a particular pair of 501s for ages. I’ve had them for about four or five years and I love them – they’re probably the most worn piece in my wardrobe. The denim shirt is from orSlow, one of my favourite Japanese brands. It’s technically Neil’s but I love it and borrow as much as he’ll let me away with. He granted me an extended loan the last time he visited me in Edinburgh and I want to wear it every day. The T-shirt underneath is a new purchase from Story Mfg, a brand that is doing things right! It’s possibly the best T-shirt I’ve ever had. Thick cotton, oversized and boxy. So comfortable. My mum knit this Aran jumper for me (one of many) and it’s basically a hug from my mum while I’m so far away from my parents. I always look forward to wearing socks and sandals as it warms up after winter (it was still so cold when I left Scotland) and now it’s summer and I’ve not had nearly enough opportunity to wear them outside!”

Daisy, 21

“I’m usually pretty casual. I think my style is always changing but always includes a lot of denim, knitwear and faux fur. I’ve recently stopped buying from fast fashion brands and I think my approach to dressing has evolved since then, because my wardrobe has been shed of all the cheap and badly made clothing that I was holding onto, and gained some pre-loved gems. I guess my style hasn’t changed much since lockdown; it has only been muffled by the fact that there is nowhere to go. I’ve tried to continue to get dressed and do my makeup routine most days, just so I feel good and stay motivated, but there have been some days that I’ve stayed in pyjamas and watched films all day. One positive to come out of all of this is being able to spend time crocheting! Crocheting is my favourite thing to do in my spare time and it brings me so much inner peace. Usually I have a part-time job at a charity shop and I’m in the midst of completing an MA in media and politics, so there’s not much time left to sit down, relax and crochet up a storm.

I created the pattern for and crocheted this jumper, inspired by the basic granny square – I feel best when I’m wearing clothes that I’ve created myself.

These jeans are my favourite pre-loved Levi’s, the only pair I have that fit me properly, and the boots are vintage. I’ve never owned boots other than Dr. Martens before, so I thought these would be a timeless addition to my wardrobe. My earrings are from the independent brand Han Makes – I love the ‘60s inspo.”

Celeste, 24

“My go-to formula for getting dressed is the biggest tee I can find, straight-leg trousers and a Birkenstock and socks combination. I purposefully never have a huge amount of clothes, so I tend to rotate a few neutral staples and pair with something a bit more interesting like a tie-dye, long-sleeve or slogan tee. Since I’m usually busy in the studio, I tend to prioritise clothes that are easy to work in, and I like to have a ‘uniform’ so that I can get ready and out of the house without too much decision-making but still curate an outfit I’m going to enjoy wearing! I’ve been dressing the same as usual since lockdown, even putting on shoes in the morning to make me feel like I’m going to work. When I came down to Brighton before lockdown I packed an unreasonably small suitcase so I’ve been rotating the same three outfits for the past seven weeks. In some ways it’s been quite a fun challenge to make an outfit you like when you have such limited options, and to keep things fresh I’ve been altering or making bits for myself when I’m feeling really uninspired. I will definitely appreciate the rest of my wardrobe when I finally make it back to London, though. I’ve been super busy making face masks for the past month, but I’ve had so much more time than usual to design new clothes and work on my pattern cutting. It’s been a needed change of pace for me and I can’t wait to share what I’ve been working on, hopefully in the not-too-distant future.

I didn’t have anything here that I felt excited about wearing now, let alone after lockdown! So I decided to adapt a plain white tee I had and make a pair of trousers in an attempt to have an outfit I felt more inspired by. I often upcycle old tees and enjoy how a small alteration can totally change the energy of a piece and re-inspire the way you view what’s in your wardrobe. The outfit is super simple (which is always my vibe) and it always feels very satisfying to wear a whole outfit that I’ve made myself! I paired it with my favourite gold hoops.”

Jazz, 22

“I dress depending on my mood. I could be out in pyjamas one day and something super elaborate the next, but the dream is to be as stylish as Tracee Ellis Ross. Like most people, lockdown has put sweats on heavy rotation. At the start I would dress up and put on makeup as a treat to queue for groceries, but now I don’t think I’ll ever regain the willpower to put on a pair of jeans. I have to finish my final year of university in lockdown so it’s been stressful for me. My cat on the other hand is loving the 24/7 attention. He’s on episode 2 of Primates and he’s almost learned how to fetch. I actually ordered this dress for a special Zoom occasion. It didn’t arrive in time so I’m wearing it for the first time for you! I don’t have any shoes that go with it. My necklace and ring are from Rwanda by an artist named Abraham Konga and are made from melted down brass padlocks.”

Ella, 21, & Mae, 17

Ella [L]: “When it comes to dressing I don’t have one strict approach, but I’ve accumulated a collection over the years from flea markets and vintage stores. Since lockdown began I have focused more on comfort, wearing T-shirts with loose skirts or jeans almost every day. One positive thing about lockdown is that I’ve managed to finish projects that I wouldn’t have had the time to finish otherwise. I’m wearing a checked silk dress which I got for my birthday a couple of years ago. I don’t have many items of clothing that I wear frequently but this is one of them. It’s easy to wear and really comfy. The red boots are from a sample sale in Paris. They have a shearling lining and are some of the easiest heels I own. I wear heels most of the time but haven’t since lockdown began, so this felt like a good excuse to put a pair on again.”

Mae [R]: “My approach is based on the things I can find in charity shops and car boot sales. I’m always in search of a bargain! I’ve been doing a lot of painting around the house, so I’ve been mainly in overalls recently. A positive for me is that I’ve had the time to sew and make some clothes – hopefully I’m learning new things. I’m wearing a vintage nightdress I got from a car boot sale a while ago. I have a bit of an addiction to buying nighties but I love to wear them in the summer because of how light and easy they are. My cowboy boots, which I’ve worn nearly every day since I found them, were a fiver from a charity shop, and the socks are stolen from my sister.”

Scarlett, 27

“I’ve always loved to dress up. I’m a queer high femme so fashion and clothing is a really important part of my self-expression. I feel most myself wearing an all-black ‘fit, bright red lipstick and winged eyeliner. Because I’m just staying at home I haven’t really felt like getting dressed up – I tend to wear comfy clothes around the house – but this does have a negative effect on my mood, so I’ll still put something nice on every few days and do my makeup. Me and my partner have been doing a date night every Friday night, and we run a club night together (Gal Pals) where we’ve been hosting virtual parties every fortnight, so that’s been a really good reason to get glammed up and put on a look. A positive to come out of lockdown for me has been cycling. I’ve never been a confident cyclist and had never cycled on the road until lockdown but the lack of cars on the road makes it a lot less scary. I wish the level of traffic could stay this way to be honest, it’s good for the environment and it encourages more people to cycle.

I’m wearing something I bought before lockdown but never got the chance to wear outside. It’s a pink frilly tulle dress I got super cheap in the Topshop sale, with a red velvet bodysuit underneath. It’s basically a Molly Goddard knockoff, I’ve always loved her dresses but I’d never be able to afford one so as soon as I saw this I knew I had to buy it. To be honest, I’m not sure where I’d wear this outfit even if we weren’t in lockdown, maybe to a party or something? It’s very over the top. I feel a bit like a meringue wearing it but I love it.”

Lucia, 23

“Two friends can describe my style better than I ever could – ‘randomised Sim’ and ‘Euro/Italo-glam’ – so it’s definitely a combination of those! My approach to dressing is also influenced by the places I’m in or what I’m doing that day. I love films and characters, so I think sometimes I play up to this in how I dress myself. Sort of like that feeling when you are on a train, looking out the window and listening to music and you imagine that you are in the music video. All I am doing in lockdown is rotating between sportswear and the same pair of trousers and jumper. I have seen loads of people getting properly dressed up for video calls and it looks fun, but I just don’t have the motivation. I have realised a lot of what drives my love of getting dressed is the joy of being out and about in the outfits I have put together. A positive to come out of lockdown is my 50-day streak on Duolingo! I’m finally trying to learn Italian in order to match my very Italian name. Plus I’m spending lots of time with my family.

The first outfit I’ll wear when lockdown lifts will probably be something way more skimpy because, at the moment, that’s my reaction to being cooped up in my house for eight weeks. I want to take all my clothes off just because…it’s a change! However, I’m in lockdown at my parents’ house on the street I grew up in, so I didn’t feel like posing at my front door Love Island-style in a bikini and heels. I chose this outfit because I really want to wear it to go clubbing! Despite having gone off clubs a bit over the last year, all I want to do every weekend in lockdown is go out, drink and dance with friends… I guess you don’t realise what you had ‘til it’s gone. When it’s safe and okay for the clubs to reopen I’ll be going in hard at an ‘80s synth pop night in this look. With the trousers in particular, I’m eager to wear them out because they are uncomfortable to sit down in, and I’d really like to wear something right now where I’m sacrificing comfort for PURE GLAMOUR!”

Tendai, 25

“I dress for the occasion but mostly for comfort, as I think there’s no point in going out in something but spending most of the night pulling down your dress in distress because you don’t feel 100%. That hasn’t changed much since lockdown; I’ve got my daytime pyjamas to potter around in and my actual pyjamas, and the occasional frock comes out once every two weeks to drink gin in the living room. A positive of lockdown? Being comfortable with the passing of time and the mundanity of just watching the days go by. Being able to stop, think and be okay with it.

I’m wearing a white bandeau top because I love having my shoulders on show, and a burnt orange wrap skirt because I like the colour with my complexion. Big gold hoops are just a staple in my life, I wear more hoops than I eat five a day. There isn’t a story behind the clothes themselves, because they are fairly new purchases, but I guess the silhouette and the colours just make me feel like summer. Like ciders in the park, BBQs on the beach, long warm evenings turning into cool sunny mornings because you’ve been up that late, and that freedom that comes along with finishing work and running out the door like you don’t have to be there again tomorrow.”

Grace, 23

“I prefer strong blocks of colours, like red, black, white or brown. To me these are reliable and stable. That’s the base I tend to start with, and I can pair each of these colours with makeup and accessories that tie the outfit together. I’m definitely my happiest when my outfit is colour-coordinated. I’ve been wearing more loungewear during lockdown but still use the same colour palette as my other clothes. When I go on a walk or to the shops, my colours are still on standby. It suits my frame of mind. I don’t like fussiness or pattern; for me it’s about shape, reliable colour and comfort. One positive of lockdown for me would be being okay on my own and learning to listen to my own needs more. It’s been really good for my mental health too, just really focusing on myself I guess.

Today I’ve decided to wear my beautiful red leather jacket. My girlfriend got it for me for Christmas and I am yet to pull a look with it. Once lockdown is lifted I will most definitely be wearing it on my first night out. Clothes to me are like armour, they make me feel strong and powerful when I wear them and red to me is power.”

Sasha, 23

“I find the more I seek out colours in my artwork, the more I wear them, whether I’m aware of it or not. Most of my clothes are secondhand: 90% of my jackets were my dad’s, same for my jeans. I wear a lot of my mother’s old clothes, she wears a lot of mine, things get circulated around our family. I’m staying at my aunt’s at the moment, she’s a powerhouse and incredibly well dressed. I come from a lineage of women who appreciate personal style. Pockets are important, as I carry around a lot of the flotsam and jetsam I find while I’m walking or running along the beach. I would never dress for another person, it feels deeply wrong to me. I would question reducing any experience at the moment to something positive or negative, but lockdown has reconfirmed my values. It’s pulled me up on my own social inadequacies: I am more wary than ever of virtue signalling, for example. My radio show GIANT LOVER has never been more focused on creating a space of hope and joy, and I am obsessing over the lyrics and melody of every song. Overall it’s shone yet another spotlight on how ravaged our state has become. I want to know what we as a society are going to do with this information.

I hate sitting still so I like to wear clothes I can move in. My mum taught me from a young age to trust cotton so I always look at the blend mix when I’m shopping. This shirt was a gift from her last year to celebrate my photos being selected for UNSIGNED 2019. The dress is a present to myself for getting through a complex period of my life when I didn’t give myself much time to rest, it’s a dress I plan to spend a lot of time dancing in. My sister always wore hoops growing up and I can’t think of anything better than a girl in hoop earrings, they symbolise everything I love about being a woman. This pair is from my favourite stall in the Lanes in Brighton. My bracelet is one of four: my sister and two of my cousins have the same one, it connects us to one another and reminds me of how fortunate I am to have them. I have long legs and when lockdown is lifted I plan to use them to run into the arms of everyone I love so I need to be wearing my trainers – god knows where they will take me when this is done.”

Amy, 30

“I very much just enjoy dressing up for myself, I don’t really care much about what people think or if an item goes or if it’s ‘fashionable’. I just love clothes and wearing whatever makes me feel happy. Not much has changed in lockdown to be honest, I’m still trying to make sure I get dressed up a bit in the morning to keep a routine. The only difference is I have actively tried to avoid jeans. Lockdown has been a time to reflect. Being fortunate enough to have time to think about the big life things as well as the small. Also being able to watch Star Wars chronologically, bingeing HBO’s Oz and cracking on with the gardening have been some more frivolous positives.

The dress I’m wearing is by Junya Watanabe Comme des Garçons and was probably the Depop find of the century. I predominantly wear vintage and secondhand clothing so absolutely love to find pieces such as this, it’s a blood sport for me. It’s an item that makes me feel so good, however it’s a total nightmare to get into – it took about half an hour to figure it out when I received it! The grandpa shirt is vintage and I’ve had it for years, it gets better and softer with age; it’s such lovely cotton. I very much like to wear vintage and secondhand clothes in a contemporary way that acknowledges more current trends – it doesn’t have to look like it’s dead people’s clothes. The sandals are a collaboration between Japanese labels, Suicoke and Needles, I got them the other day as a treat to myself. I love Suicoke sandals as they are such great quality and so comfy, so I know I’ll wear these for years to come.”

Fez, 22

“I try and shop mainly secondhand as I feel it’s the best way for me to shop sustainably. I’m trying to stop shopping fast fashion. I love charity shops and eBay, that’s probably where I get most of my clothes. My style is mainly influenced by Bratz dolls and the Spice Girls! I’ve felt really weird about ordering clothes during lockdown because I don’t want to put people at risk just to get clothes. I refuse to order from big brands, particularly while there’s been so much controversy surrounding them not paying garment workers because of COVID-19. They need to #PAYUP. One positive of lockdown has been rewatching every single episode of RuPaul’s Drag Race.

I’m wearing a Jane Norman dress I got on eBay just before lockdown. It’s fire. I don’t know where I would wear it but I just love everything about it. I am one of those people who shaved their head during isolation so I’m still trying to get used to it but this dress with my shaved head is special. Secondhand clothes are the way forward – I got this for £7!”

Faith-Rowan, 26

“I make my own clothes. I love colours, frills and vintage. I think I’m a lazy dresser at heart so I’ve been making easy clothes that make you look like you’ve made an effort when it really just took you five minutes to get ready! Since lockdown, I have had a lot of time for designing and making my own clothes again. Most days you’ll find me wearing my PJs in my home studio, designing and making clothes, then prancing around in them once they are done. Last year I was cofounder and creative director at Lara Intimates but that all came to an abrupt end last September and I found myself living back in Brighton. I felt a massive loss – it was an emotional time for me and therefore my creativity just stopped. However since lockdown I have had it coming back in droves, which has given me a massive drive to start my own company again and for that I’m really grateful.

When lockdown lifts, I’ll be wearing this pink and cream gingham two-piece. It’s been something that I’ve wanted to design for months and months and it has finally come into life. I am using the most beautiful European linen that genuinely makes me so happy. I’m choosing this outfit because for me it’s my new beginning, my fresh start, my next chapter.”

Flossie, 23

“My approach to dressing is straightforward! I’m an outfit repeater so getting dressed is a pretty easy task as I only own a few items in my wardrobe. I keep it small because dressing and shopping equals lots of decisions and I’m not great at making clothing-related decisions, especially if it’s first thing in the morning. I’ve been roaming round my flat in pants and a tank top for the whole of lockdown. Sometimes I think I want a huge, diverse wardrobe so I can change up my persona on a whim depending on my mood but at the same time I feel like pants and a white vest is all the persona variation I need. It’s a bad bitch outfit, it’s also a sad bitch outfit, and all the moods in between. Come to think of it I don’t think I’ve ever caught a glimpse of myself in the mirror in lockdown and thought, This outfit doesn’t match my mood.

Pastels for spring? Groundbreaking. I threw on this outfit about five minutes ago and quite honestly didn’t think about it too much. I’d say the way I put this together was like a magpie in a pawnbroker’s, I chose the items I gravitated towards first. The shirt is from Zara and despite it having cats on it I’m definitely more of a dog person. Underneath I’m wearing a linen dress from Avoca Anthology. I overheat easily in warm weather so I pretty much live in this dress over spring and summer. My banana earrings were a gift from a dear friend, handmade by the very talented jeweller Sophie Morgan. The cowboy boots? I impulsively bought them a couple of years ago on eBay for £20. I haven’t worn them much but twenty quid to realise my Hannah Montana Tennessee fantasy? Worth it.”

Like what you see? How about some more R29 goodness, right here?

We Photographed 15 People In The Outfit They’ll Wear When Lockdown Lifts published first on https://mariakistler.tumblr.com/

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vacationsoup · 5 years ago

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New Post has been published on https://vacationsoup.com/a-celebrity-style-hen-party-weekend-in-edinburgh/

A celebrity style hen party weekend in Edinburgh

Don't want to do a life drawing class on your hen weekend away? Neither did Ellie Goulding who held her weekend at one of our favourite Prive Properties, Drylaw House in Edinburgh.

Edinburgh is an amazing city and an excellent choice for a weekend hen party. But what to do and where to go if you want to party like a celebrity?

First of all, how to travel to Edinburgh in style.

Train is one stress-free option, Its just 4 hours from London to Edinburgh, grab a good book, a stack of magazines, some champagne and smoked salmon sandwiches from Marks and Spencer and "let the train take the strain"

Or, you could really take living like a celebrity to the next level and hire a private jet. It may sound extravagant but it is a very special weekend. Western Aviation can provide jets from Gloucestershire or Manchester airport from £6,000.00 for 6 people. Yes, we know it is a lot compared to the train, but it really does add more than a touch of glamour to your hen weekend, which, is after all, something you only do once in a lifetime (we hope!).

So you've arrived in Edinburgh what are you going to do for the next 48 hours?

A successful hen weekend is all in the planning. Whilst Edinburgh offers so much to see and do, it's important to ensure your group gets time to relax as well. After all there's no point in hiring a beautiful Grade 1 Georgian mansion if you're not going to spend some time chilling like a celebrity.

Unless you have some wannabe Nigella's or Lorraine Pascales in the group, its probably a good idea to hire a private chef for one evening and explore the bars and restaurants on the other night. You're going to need supplies for the weekend so make sure you order what you need (all major supermarkets deliver) and have it delivered just after you arrive on Friday afternoon.

Friday afternoon

You've arrived in Edinburgh, time for a wander around, but first a pit stop for tea and cake. It's a special weekend and this calls for a proper patisserie. Chose from the delicious selection at Labarantine, its hard to choose from their selection of classic french cakes which all look irresistible, from a macaron framboise to a citron meringue. Whilst you're there, why not take home a selection of their french artisan breads for a leisurely breakfast on Saturday morning. There are four branches in Edinburgh to choose from.

If you are searching for something a bit different as a gift for your bridesmaids, how about visiting perfumer Lelabo

Known for its cruelty-free ethos, pared-back stores decorated with vintage finds, it is loved by celebrities. You can have a custom printed label for your perfume which is mixed on the premises to ensure total freshness. A lovely way to remember an amazing weekend.

A recent attraction to Edinburgh is the Chocolatarium which opened in September 2019. They offer tours lasting 90 minutes and not only to you get to sample lots of chocolate, you can also make your own.

Make your way back to Drylaw House and relax in the hot tub with a glass of something bubbly before you head out for the evening. Download our classic hen party songs playlist below, which, of course, includes all our favourites including Ellie's track from Bridget Jones Baby.

Scotland is the home of whisky, but it also has a numerous amount of gin distilleries, including Edinburgh Gin. Why not start your evening out at the Heads and Tails Bar, the home of Edinburgh Gin, they have an extensive Gin menu and as you would expect as well as Cocktails from £8.50.

The Cauldron in Edinburgh offers an experience like no other, almost a "Harry Porter like cocktail experience". Darning a robe and wand (we said It was very Harry Porter) after 1 hour and 45 minutes you will have created drinks that change colour, bubble and even smoke!

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From a dungeon to a bar with a view. The Bar at Harvey Nichols is situated on the 4th floor. As you would expect from Harvey Nichols, the drinks menu is extensive. Enjoy a cocktail or glass of champagne and take in views over the north of Edinburgh and The Fourth Estuary. Another bonus for chocolate lovers is The Harvey Nichols Chocolate Lounge, everything 'Chocolate' you can imagine including cocktails, go wild, you can get back to the gym on Monday!

If you feel like your high heels are going to hurt and you dont want to venture anywhere else then Harvey Nichols offers a Brasserie for more casual dining options or a formal restaurant.

Continuing with the theme of great views, The Outlook does not disapoint. Built on a cantilever, the restaurant is partially suspended over Calton Hill. Designed with floor to ceiling windows the views are spectacular and so is the food. They offer breakfast, an a la Carte menu, a daily market menu (at lunch only), a tasting menu and also a vegan tasting menu For a Brasserie with exceptional style, try The Honours, owned by multi award wining chef Martin Wishart, both food and interiors will not disapoint.

It's Saturday! Enjoy a leisurely start to the day with the papers or watching Saturday Kitchen whilst you enjoy some of the pastries and sourdough you picked up yesterday.

There is so much to see and do in Edinburgh (check out our other blogs on things to do in the city) but you can find some of the worlds' greatest art at The Scottish National Gallery and The Scottish National Gallery of Modern Art.

The list of artists exhibits is extensive but includes works by Francis Bacon, Lucien Freud, Damien Hurst and David Hockney.

There's not much point renting a stunning Grade 1 listed house set in beautiful walled gardens, with huge rooms and floor to ceiling windows if you're not going to spend some time relaxing in its' splendour. So for Saturday night how about dressing up and staying in?

House Party guests have been experiencing the culinary delights offered by Private Chef, Mark Heirs, for several years now and recommendations are always glowing!

Choose from a three course meal to as many courses as you like.

vimeo

Whilst Mark prepares your feast, why not enjoy some cocktails in the drawing room.

Pure Bar Tending can cater for your evening and Social and Cocktail can also offer cocktail making classes.

With an amazing feast to look forward to you might want a healthier and lighter option for lunch after you've taken in some exhibitions at the art galleries.

Hula was Edinburgh's first juice bar, opening in 2007. Not only do they offer a great selection of juices. they alos offer a selection of wraps, salads, poke and hula bowls. There is a lot of vegetarian and vegan options on the menu and the restaurant is plastic free.

Sushi is a great light lunch option. Head to Umi for some Tuna tartare, truffle edamame beans, sushi, sashimi or ramen dishes.

A trip to Edinburgh wouldn't be complete without some shopping. Edinburgh not only offers all the big name stores and luxury brands you'd expect, but also a great selection of independent shops.

Thistle Street is a cobbled street which runs behind Princes Street and George Street. Here you will find everything from antique jewellery shops to a kilt shop.

Head to Alc for womenswear, they specialise in denim but also have a selection of more unique designers. Covet have a great selection of bags, scarfs and jewellery and if you really want to splash out you will find designs such as Roland Mouret, Diane von Furstenberg and Goat adorning the rails at Jane Davidson and then further down Thistle Street is Pam Jenkins with some Jimmy Choo's or Louboutins to finish off the look.

Hopefully you'll still just have enough time to nip for a quick drink at The Bon Vivant Bar and if you need supplies for your evening, then The Bon Vivant's Companion right next door stocks over 300 wines, 100 whiskies, 40 gins as well as an excellent selection of beers. They also offer in house tastings and master classes.

After a full day exploring head back, enjoy a dip in the hot tub and then look forward to an amazing dinner.

Before you depart Edinburgh on Sunday, blow the cobwebs away with a walk up Calton Hill or Arthurs Seat. Should you be feeling a little worse for wear, then the Scots traditional hangover cure is IrnBru-but we really don't recommend that! With 3 shops in Edinburgh Oink Hog Roast offers delicious hog roast rolls in three sizes, piglet, oink and grunter! All served with the choice of stuffing or haggis, a perfect alternative to a burger or bacon sarnie with a Scottish twist.

At House Parties we have properties for smaller groups if Drylaw House is too big, then Cumberland Mews makes an ideal hen party house for up to 9 guests.

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5bridesmaiddresses12 · 6 years ago

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wp-yahoo-style-1042-yahoopa-blog · 6 years ago

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Kate Middleton and Meghan Markle are reviving a ’90s grunge staple — and you can, too

Meghan Markle and Kate Middleton match in tartan coats. (Photo: Getty Images; art: Yahoo Lifestyle photo-illustration)

Kate Middleton and Meghan Markle just had their second twinning moment — this time, in a retro ’90s grunge print–tartan.

On Tuesday, Middleton recycled the old favorite, a tartan coat dress by McQ by Alexander McQueen, to open the V&A Dundee design museum in Scotland. It was a fitting sartorial choice by the duchess, as the specific green, blue and black is Black Watch tartan, a heritage print from Scotland. She finished the look with a matching green scarf and Manu Atelier handbag. Middleton was first seen in the look during a 2012 to visit St. Andrew’s School in Berkshire, England, and then once more over Christmas in 2013.

Kate Middleton, Duchess of Cambridge, officially opens the V&A Dundee museum and greets the public while wearing a McQ by Alexander McQueen tartan Black Watch coat on Jan. 29 in Dundee, Scotland. (Photo: Mark Cuthbert via UK Press)

Meghan Markle arrives at Edinburgh Castle wearing a Burberry tartan coat on Feb. 13, 2018, in Edinburgh, Scotland. (Photo: Getty Images)

Similarly, Markle wore a long tailored Black Watch tartan coat by Burberry to visit Edinburgh, Scotland, with Prince Harry back in February 2018, a few months before the couple got married at Windsor Castle. Tartan may have originated in Scotland, but it possesses a rich, enduring fashion history.

The signature criss-cross print played an important part in the cult-favorite 1995 film Clueless, in which character Cher Horowitz helped popularize the look, head-to-toe. Tartan soon became synonymous with the era, when grunge style, including plaid flannel, dominated.

The trend was revived last year when Donatella Versace brought back this Scottish textile and incorporated it throughout her fall 2018 runway show, reinvigorating the print on skirts, blazers, trousers, berets, handbags, hats and scarves for the modern-day fashionista.

If you love this classic print, below are 10 ways to incorporate it into your wardrobe today.

Brooks Brothers Tartan Wool A-Line Dress

Brooks Brothers Tartan Wool A-Line Dress. (Photo: Brooks Brothers)

We can easily see Kate and Meghan wearing this dress. Its A-line proportions are conservative but flattering, making it a fantastic business or office look.

Shop it: $119 (was $158), brooksbrothers.com

Amazon Essentials Women’s Long-Sleeve Classic-Fit Lightweight Plaid Flannel Shirt

Amazon Essentials Women’s Long-Sleeve Classic-Fit Lightweight Plaid Flannel Shirt (Photo: Amazon)

Ease back into the grunge trend with a chic tartan button-up shirt that will go great with your skinny blue jeans.

Shop it: $20, amazon.com

Lauren Ralph Lauren Tartan Stretch Cotton Skinny Pants

Lauren Ralph Lauren Tartan Stretch Cotton Skinny Pants. (Photo: Zappos)

If you prefer wearing trousers to work instead of a dress, this pair has an ultra-flattering skinny fit and is made of a comfortable stretch fabric. We suggest styling it with a crewneck sweater and black flats for a comfortable, all-day look.

Shop it: $81 (was $115), zappos.com

H&M Double-Breasted Coat

H&M Double-Breasted Coat. (Photo: H&M)

Style this coat with black slacks, heels and a cross-body handbag. It’s an outerwear piece that won’t expire after just one season.

Shop it: $50, hm.com

Collectif x MC Ever Lovely Intellect Midi Skirt

Collectif x MC Ever Lovely Intellect Midi Skirt. (Photo: Modcloth)

Indulge your penchant for tartan skirts with this version, which is a steal at just $20.

Shop it: $20 (was $69), modcloth.com

J.Crew Mini Harper Leather Satchel

J.Crew Mini Harper Leather Satchel. (Photo: Nordstrom)

An easy way to incorporate tartan into your wardrobe is via accessories. This bag’s compact size makes it a versatile one to carry for all occasions, but its bold print will make sure you stand out from everyone else.

Shop it: $99, nordstrom.com

Willamette Wanderings Plaid Blanket Scarf in Classic

Willamette Wanderings Plaid Blanket Scarf in Classic. (Photo: Modcloth)

At $8, it’s a price that’s hard to refuse and one that will keep you warm and cozy no matter where you are.

Shop it: $8 (was $19), modcloth.com

Pendleton Heritage Black Watch Tartan Tall Waterproof Boots

Pendleton Heritage Black Watch Tartan Tall Waterproof Boots. (Photo: Nordstrom)

These Pendleton boots are a chic alternative to traditional rain boots and come in Meghan and Kate’s Black Watch print.

Shop it: $98 (was $140), nordstrom.com

Topshop Fellow Tartan Coat

Topshop Fellow Tartan Coat. (Photo: Topshop)

For the fashionista who is unafraid of making a statement, this bright yellow tartan coat is for you.

Shop it: $170, topshop.com

Matiko Lisa Point-Toe Mules

Matiko Lisa Point Toe Mules. (Photo: Shopbop)

If you love wearing mules as much as we do, this Matiko pair puts a playful twist on your typical black and nude heels.

Shop it: $41 (was $136), shopbop.com

Set About Your Work Sleeve Dress

Set About Your Work Sleeve Dress. (Photo: Modcloth)

We love the vintage quality of this A-line dress. It’s fun, flirty and appropriate for all types of occasions.

Shop it: $99, modcloth.com

The editors at Yahoo Lifestyle are committed to finding you the best products at the best prices. At times, we may receive a share from purchases made via links on this page.

Read More from Yahoo Lifestyle:

• ‘This coat is the warmest I ever had’: As deep freeze grips US, shop top-rated winter gear to stay warm • Lady Gaga and Lupita made this the No. 1 beauty trend at the SAG Awards • Underwear ‘joy checks,’ plus 5 other Marie Kondo organizational hacks that changed my life

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#tartan #yahoo shopping #alexander mcqueen #_lmsid:a0Vd000000AE7lXEAT #_revsp:wp.yahoo.style.us #kate middleton #clueles #_author:Julie Tong #style #mcq #meghan markle #_uuid:da26c7fb-477a-3771-ba92-2c005e4c1d39 #burberry #fashion #shopping

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harryandmeghan0-blog · 6 years ago

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Meghan Markle's outfits cost eye-watering £700k - more than any other European royal - Mirror Online

New Post has been published on https://harryandmeghan.xyz/meghan-markles-outfits-cost-eye-watering-700k-more-than-any-other-european-royal-mirror-online/

Meghan Markle's outfits cost eye-watering £700k - more than any other European royal - Mirror Online

The Duchess of Sussex’s style has wowed the nation but looking so good comes with a hefty price tag.

Meghan, 37, wore outfits worth £406,662 last year, plus her Givenchy wedding gown, said to cost £387,000.

This week the pregnant royal, wearing a £2,600 Oscar de la Renta coat, turned stylist at a West London charity by helping job seekers choose clothes for interviews.

Meg’s wardrobe cost over five times more than sister-in-law Kate’s, according to royal style site UFO No More.

It also dwarfed those of other royals in Europe.

Here’s a quick peek at these top families’ fashion sense…

(Image: Getty Images)

Meghan, Duchess of Sussex

£406,662

Meghan is a designer’s dream. Whatever she gives the royal seal of approval sells out quickly. On a trip to Edinburgh in February, she wore a £1,995 Black Watch Burberry design coat. Hours later identical numbers were selling on eBay for almost £3,000.

A version of the Stella McCartney halter-neck gown she wore for her wedding reception was quickly snapped up at £4,500 after the designer released a near identical number. Meghan’s £400k price tag includes a Cartier reflection bracelet and matching earrings, but the £185,000 set may have been a gift from Prince Charles.

In Britain, female royals can request to borrow garments from the likes of Chanel, Alexander McQueen and Kate’s favourite, Catherine Walker, but protocol dictates they must be returned.

Wardrobe staples are funded mostly from family money through Prince Charles’s vast estate. And Meghan has £5million from her career as an actress.

Crown Princess Mary of Denmark (Image: Getty Images)

Crown Princess Mary of Denmark

£92,539

A fan of couture, the Crown Princess is a style icon. But looking good does not come cheap.

The 46-year-old mixes up her wardrobe with local and international designers.

She wowed in a Jesper Hovring velvet gown at Prince Charles’s 70th at Buckingham Palace. This year, she rocked up to a New Year reception in a dove grey dress – which she wore to the same do in 2016.

Countess of Wessex (Image: UK Press via Getty Images)

Countess of Wessex

£77,998

Even a visit to a dairy farm is an opportunity for Sophie to shine.

The mum-of-two was in Cornwall last months in a blue coat, matching jumper dress and fab boots. It is statement coats like this that keep the 53-year-old countess bang on trend. But she says: “My track record in fashion has not always been as good as it is today but we learn in time.”

Catherine, Duchess of Cambridge (Image: SWNS.com)

Catherine, Duchess of Cambridge

£72,251

Kate is known for her love of the High Street – and wearing outfits again and again. But the price tag is still eyewatering.

In 2017 she wore £119,000 of new clobber but maternity leave with Prince Louis may explain this lower figure.

She owns Topshop and Reiss dresses and was spotted last year in a £220 crimson Boden coat at Great Ormond Street Hospital. And Kate, 37, put on a £225 Lacorine hat for church in Sandringham.

Supporting British designers, Kate, is a big fan of Catherine Walker.

Princess Charlene of Monaco (Image: AFP/Getty Images)

Princess Charlene of Monaco

£55,252

The epitome of style, Princess Charlene is a former Olympic swimmer whose physique suits just about everything she wears.

In July she graced a Red Cross Gala in a chainmail Versace gown, right, worth around £4,500.

Charlene, 40, favours Swiss brand Akris. She wore their white winter coat and jersey dress to present her twins Jacques and Gabriella to the world in 2015.

Queen Maxima (Image: Getty Images)

Queen Maxima

£51,122

The Queen of the Netherlands is bold in her outfit choices – with bright colours, funky florals and big hats.

But Maxima, 47, brought a touch of regal glamour to a Buckingham Palace banquet in October, in a long blue gown with sheer sleeves, left.

And her tiara, once owned by Queen Mary II of England, made a real statement – it includes a massive diamond, 39.75 carats.

Princess Beatrice (Image: Getty Images)

Princess Beatrice

£50,818

Not known as a fashion icon, Beatrice, 30, is a new entry on the list.

Haunted by her 2011 headwear at William and Kate’s wedding, last year she surprised with outfits such as her purple number for the Met Gala, rock chic at the Serpentine Gallery and beaded teal dress for Harry and Meghan’s wedding.

Princess Marie of Denmark (Image: Getty Images)

Princess Marie of Denmark

£44,496

This princess loves to rock a diamond or two – priciest so far was a selection of jewels from muchloved designer Christine Hvelplund.

The two bracelets and earrings she wore for Crown Prince Frederik’s 50th birthday, left, cost a cool £20,000.

Yet despite the love of expensive jewellery, her highly accessible style is much more relaxed than most royals.

Marie, 42, is not averse to slipping on jeans, and is often seen in simple skirt suits at formal events.

Crown Princess Victoria of Sweden (Image: IBL/REX/Shutterstock)

Crown Princess Victoria of Sweden

£39,751

The Swedish Royal family champion Scandinavian designers. UFO No More said 70 per cent of their pieces are Nordic creations.

Victoria even wore black dress from Sweden’s H&M when it collaborated with Erdem on a wardrobe that started at £50.

In December she attended the Nobel Prize Ceremony in a vintage Nina Ricci gown which her mother Queen Silvia wore to the ceremony in 1995.

Queen Letizia (Image: Getty Images)

Queen Letizia

£38,272

Spain fashi wom roya SPAIN’S most fashionable woman is another royal who spends her cash on the High Street.

She has been pictured in a £49.99 Zara dress and sporting a £75 ASOS frock.

Last week she turned on the glamour in a floor-length navy skirt and tweed jacket for the Epiphany Day celebrations in Madrid.

Off duty, Letizia, 46, opts for Mango, Zara and Uterque outfits.

Crown Princess Mette-Marit of Norway (Image: Getty Images)

Crown Princess Mette-Marit of Norway

£36,992

Princess Mette-Marit, 45, has developed her fashion sense over the years.

The princess, who spent a lot of last year on leave after being diagnosed with lung disease, is perhaps taking tips from her son Marius, 21, said to be working as a style editor at a London mag.

Mette-Marit, voted Hello! magazine’s worst dressed young Royal in 2015, wore a floral gown after announcing her illness in October.

Source: https://www.mirror.co.uk/news/uk-news/meghan-markles-outfits-cost-eye-13849672

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jodybouchard9 · 7 years ago

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7 Family Heirlooms People Hate Having in Their Homes

kzenon/iStock

When my parents got married, they were given a number of beautiful wedding gifts that, alas, went straight into their closets to collect dust. One of these gifts—a crystal punch bowl with matching glasses—simply wasn’t very useful during the early years of their marriage, and it didn’t exactly gain usefulness later on once they had kids.

After I grew up and moved into my own place, my parents passed that punch bowl set along to me, thinking I might finally give it some love during an Instagram-worthy dinner party. Alas, it languished in my dining room closet for three long years until—overcome with guilt and sadness over these long-ignored items—I finally brought it out this past Thanksgiving.

As it turns out, I’m not the only one weighed down with sentimental but highly irrelevant heirlooms from generations past. As the taste for formal dining rooms has waned, so has our appetite for fine china, fancy silverware, crystal goblets, and other high-end housewares that have long dominated wedding registries. And yet even that stuff is far more useable than some of the other weird things that people have passed down to later generations.

My vintage crystal punch bowl set, set for Thanksgiving 2016

Meghan O'Dea

So what are some other family heirlooms that people hate having in their homes? We asked, and boy did people fess up.

The deceased’s ashes

“When my father-in-law died, my wife and I inherited her grandfather’s ashes, which are a very weird heirloom to have. They live in the same place they did in her father’s house—our guest room closet.” – Jessica Beroldi, Alexandria, VA

Racist antiques

“My dad was a professor/priest who was committed to the civil rights movement of the ’60s. As such, my grandma thought it was OK to gift his eldest daughter—meaning me—with a family heirloom: a topsy-turvy doll, which are toys depicting crudely caricatured African-Americans. Suffice it to say I don’t display this in my home.” – Becky Garrison, Portland, OR

Tacky dishware

“Most hated heirloom? Scandinavian engraved crystal glasses with topless mermaids … or they might be milkmaids. As a teenager, I got in trouble once for pointing out the nipples to my sister at family dinner.” – Daisy Alioto, New York, NY

Daisy Alioto’s heirloom crystal glasses

Daisy Alioto

High-maintenance furniture

“For me, it was a beautiful set of midcentury blond wood Conant Ball furniture. I loved them at first, but they marked up so easily, like with water or even the press of a fingernail, it gave me anxiety. So when I moved, I decided to unload this stuff. I was so happy to see it go.” – Coleen Kane, Brooklyn, NY

Too-large collections

“My great grandmother left me a whole house full of amber glass bottles and containers. While the pieces are beautiful and I have incorporated several into my decor, her collection is so extensive—just entirely too much. I was forced to box them up and move them to the attic!” – Tiffany Hutton, Chattanooga, TN

Ceramic figurines

“Any sort of ceramic figurine is wasted on me. I have one pair dressed in Victorian or maybe Georgian outfits from my grandmother. I hang onto them in case they might be valuable one day, but they will never be out in my house where people can see them.” – Anne Rushing, Edinburgh, Scotland

Home decor that just isn’t their style

“My husband’s grandmother gifted us with this dragon airbrushed ice bucket from her trip to Japan back in the day. It sits on top of a high bookshelf in my guest room. I don’t want it looming over me in any of the rooms of the house that I frequent; it’s just so not my style.” – Amy Barger Roberts, Memphis, TN

Amy Barger Roberts’ vintage Japanese ice bucket

Amy Barger Roberts

So what family heirlooms do homeowners actually like?

That said, homeowners don’t hate all heirlooms. Here are a few items that people love keeping.

Love letters

“I will always cherish a couple of love letters Grandpa sent to Grandma during the war. I love sentimental things that tell stories.” – Becky Pallack, Tucson, AZ

Vintage books

“I have an original, author-signed copy of ‘Gone With the Wind’ that my grandmother received as a birthday present. It’s old and tattered, but I’ll never, ever, ever get rid of it.” – Katka Lapelosová, New York, NY

Katka Lapelosová’s heirloom copy of “Gone With the Wind”

Katka Lapelosová

Holiday keepsakes

“When my mom asked me what I wanted from my grandmother, I desperately asked for a glass candleholder that my grandmother always kept lit on Christmas Eve. It’s one of my prized possessions, and I use it for decor at Christmas.” – Sarah Kennedy, Athens TN

Jewelry

“I love having a small diamond ring that was handmade in Italy out of a pair of my great-great-great-grandmother’s earrings. It’s tradition to pass it down, oldest daughter to oldest daughter.” – Katie Elizabeth, New York NY

Religious items

“My grandmother and I were very close. Before she moved to a nursing home, she told me to take her wooden jewelry box, and gave me her plastic rosary and her prayer book. She had the book since the ’60s. It even has her old New York City address. When I look through it, I can imagine her writing in it, and taking notes. She only went to school until fourth grade, but she knew how to read because of her faith.” – Sarah Betancourt, Colchester, VT

The post 7 Family Heirlooms People Hate Having in Their Homes appeared first on Real Estate News & Insights | realtor.com®.

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stepblog614 · 3 years ago

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Pencil Drawing Fashion Illustration

Original Vintage 1930's Art Deco Watercolor and Pencil Fashion Design Drawing 2. $10.00 shipping. Rare Rouben Ter-Arutunian '67 Original Broadway Set Design Important Designer. Large Pair of Signed Original Fashion Etchings Sketches Framed. Hi guysThis is Drawing Dress Using Color Pencil Fashion illustration art Fashion illustration sketches Thanks For Watching ♡Don't forget Subscribe to #CA. Design Detail Flesh Tones Fabric fashion s K ETC h B o o K aBingl sixth edition f ashion Sketchbook, 6th Edition demystifies the fashion drawing process with simple, step-by-step directions. Now in full color and completely revised, with updated instructions and images throughout, this introductory text explains how to draw women, men,.

What Is Fashion Illustration

Fashion Figure Illustration

Pencil Drawing Fashion Illustration

Pencil Drawing Fashion Illustrations

Jeanne Paquin (1869-1936), fashion design, Paris, 1907. Museum no. E.1432-1957

1900s

For most of the first decade of the 20th century, fashion mainly showed seasonal modifications rather than any fundamental changes. However, as the century unfolded, the concept of the 'natural figure' banished the corseted and exaggerated S-shaped figure that was fashionable at the beginning of the decade. These innovations, a significant liberation for women, were accompanied by the introduction of strong and vibrant colours.

'Originality and Opulence': the House of Paquin

In 1890 Jeanne Paquin (1869 - 1936) and her husband Isidore Paquin opened their Maison de Couture Rue de la Paix in Paris, close to the celebrated House of Worth. Paquin soon became famous for introducing coloured lining to otherwise mournful looking black coats, and for adding embellishments of lace or rich embroidery to black dresses. The innovative yet subtle use of furs became one of the house's trademarks. In an age when fashion advertising was in still in its infancy, Jeanne Paquin was the first couturier to send mannequins to the trend-setting and trend-spotting races at Longchamp and Chantilly.

In 1900 Jeanne Paquin was elected president of the Fashion Section for the Universal Exhibition and, throughout her career, many of her creations participated to those international fairs. The originality and opulence of Paquin's designs soon bolstered the international reputation of the fashion house. One of her greatest achievements was the opening of foreign branches in Buenos Aires, Madrid and London - she was the first Parisian couturier to take this step and many followed her lead. She was the first woman in her field to be awarded the Légion d'Honneur in 1913.

At Jeanne Paquin's death in 1936, the house passed into the hands of the Spanish couturier Antonio Canovas del Castillo. Paquin bought the House of Worth in 1953 but closed its doors on 1 July 1956. The V&A has a magnificent collection of Paquin sketch books, ranging from 1897 to 1956.

1910s

The 1910s were a period of dramatic change in fashion. Though many trends had their roots in fashions of the previous decade, the First World War cemented the move towards more practical, less restrictive clothing. As women were called into factories and offices, fashionable dress simplified and shortened.

Florrie Westwood

Florrie Westwood (dates unknown) was a London designer active in the early part of the 20th century. Nothing much is known about her apart from her drawings, from which we can see that she produced elegant high-end, if conservative, fashions. Many hundreds of now-anonymous dressmakers and designers like her existed in towns and cities across the country until the middle of the 20th-century mass-market ready-to-wear clothing came to dominate fashion.

1) Florrie Westwood, fashion design, London, 1918-9. Museum no. E.1539-1977

1) The three 'Original Designs' in the image from 1918 - 1919 are very typical of the late 1910s. They feature high waists and feminine materials and colours. They also anticipate the androgynous look of the 1920s with their linear, straight silhouettes. The designer's own descriptions of the dresses, written next to them are:

'Left: Dress of mauve taffeta and ninon, with insertion of ivory lace. The sash is of mauve ribbon to match the dress.

Centre: A simple evening frock of powder blue satin & shell pink tulle. The broad sash is pansy black ribbon with bright appliqué orange flowers.

Right: Frock of ivory crepe georgette, with two deep bands of peach coloured self material. The insertion is very fine lace.'

2) This fashion illustration portrays three afternoon dress designs drawn in pencil and colour wash. It is signed and dated by the artist. Such a collection of designs seen together demonstrate the increasing trend for women to abandon the restrictive corset. During the early years of the 1910s, designers started to promote the use of lighter and softer fabrics in order to make their creations increasingly free flowing. This new approach focussed on fluidity provided a contrast with the stiff and S-Bend silhouettes of the previous decades.

3) These four different designs for winter coats by Florrie Westwood are dated 15 January 1919. They emphasise the new fashion for the linear silhouette and ankle length designs. They also show the new shape (higher neck covering and greater shoulder coverage) of fur collars and cuffs.

3) Florrie Westwood, fashion design, London, 1919. Museum no. E.1538-1977

2) Florrie Westwood, fashion design, London, 1918. Museum no. E.1536-1977

Melanie Vermont

The designs by Melanie Vermont (1897 - 1972) in the V&A collection were given to the museum by Mrs M. Goldflame, the niece of the artist. At that time, Mariano Fortuny (1871 - 1949), a Spanish designer based in Venice, invented a new special pleating process and new dyeing techniques for his dress designs. His innovative designs were inspirational to other designers, but also hugely successful as they gave women the freedom of movement they had been craving.

4) These two evening dress designs in pencil by Melanie Vermont in the image to the right are good examples of how, at that period of time, designers increasingly used flowing material which enabled them to create dresses with elaborate drapes, thereby moving away from the restrictive corsets fashionable in the previous decade. During the early years of the 1910s, designers started to promote the use of lighter and softer fabrics in order to make their creations increasingly free flowing. This new approach focussed on fluidity provided a contrast with the stiff and S-Bend silhouettes of the previous decades. The tunic in the right hand design is made out of pleated material.

5) This illustration shows five designs for girls costume in pencil and colour wash. In this decade, the emphasis for children's dress changed from the waist to the hip, and dresses and skirts also became shorter (above the knee) as shown in these designs. The central figure is wearing a green coloured day dress with a pleated skirt and an elaborate belt which matches her small collar and the sleeve cuff. Also shown are two coat designs. The second figure to the left is wearing a white and red chequer short coat with Alamo buttons whereas the further figure on the right is wearing a white and navy striped coat with sailor navy collar and matching cuffs.

4) Madeleine Vermont (1897-1972), fashion design, London, 1913. Museum no. E.957-1977

5) Madeleine Vermont (1897-1972), fashion design, London, 1913. Museum no. E.954-1977

1920s

Developments in fashion following the war were greatly influenced by the changing attitudes of women. Younger women were empowered by their wartime independence and deliberately flouted the style preferences of their mothers' generation for flounces, frills and lace. They cropped their hair and wore skirts to the knee, with simple, linear dresses that gave them a boyish silhouette.

Norman Hartnell

6) Norman Hartnell (1901-79), fashion design, London, 1920s. Museum no. E.29-1943

London-born Norman Hartnell (1901 - 79) set up his fashion house in 1923 and soon became famous for his lavish and romantic evening and bridal gowns. Hartnell is credited with introducing the longer-length skirts that would mark the end of the flapper era and his designs were sought after by the sophisticated British 'elite'.

Very much a 'society' dressmaker, Hartnell is, however, perhaps best known for his long-standing association with the English Royal family. He designed the dress worn by Queen Elizabeth for her wedding to Prince Philip, the Duke of Edinburgh in 1947, as well as her coronation robes in 1953. In 1977, Hartnell was appointed KCVO, the first knighthood conferred for services to fashion.

6) Hartnell designed this dress with two materials in mind: the under dress is of solid material and is covered from shoulder to hem with chiffon. The dress has a boat neck line with tight sleeves up to the elbow where they fan out with 'scollop' edging. This matches the hem of the dress. Hartnell supplemented the design with a beaded belt with tassels, matched with a band of beads on the sleeves. The design also shows a large head band with sparkling embroidery. The simplicity and grace of this dress would have been perfect for the fashionable cocktail parties of the era.

Hilda Steward

Nothing much is known about Hilda Steward apart from her drawings, from which we can see that she produced elegant high-end fashions. Many hundreds of now-anonymous dressmakers and designers like her existed in towns and cities across the country until the middle of the 20th century, when mass-market ready-to-wear clothing came to dominate fashion.

7) This sleeveless evening dress was designed by Hilda Steward in 1920 appears to be made in satin with a short lace three layer overskirt hanging from the belt. The belt is slightly higher than the waist in the front and supports the overskirt only from the side to the back - leaving the front completely free.

The figure is wearing a bracelet above the elbow and a large head band typical of the 1920s to hold the new short fashionable hair cut. The designer's signature appears in the bottom right hand corner in the form of her two initials overlapped, including the date running alongside it in a vertical strip.

8) This is a design for an orange day dress with an overskirt made by two pleated panels. The figure is holding a fur wrap which looks like Sable; it matches some fur details on the dress including those on the hem. The large brim black hat has two Ostrich feathers.

The belt is to be held by a gold ornament. The designer's signature appears in the bottom right hand corner in the form of her two initials overlapped, including the date running alongside it in a vertical strip.

8) Hilda Steward, fashion design, London, 1923. Museum no. E.1039-1988

7) Hilda Steward, fashion design, London, 1920. Museum no. E.1045-1988

Victor Stiebel

Victor Stiebel (1907 - 73) was born in South Africa in 1907 but settled in England in 1924. After working for three years at the House of Reville, he opened his own fashion house in 1932. A founding member of the Incorporated Society of London Fashion Designers, Stiebel was appointed its Chairman in 1946. Stiebel was highly successful and his clientele included the leading actresses of the day, but also royalty and members of the aristocracy. He created the going-away outfit for Princess Margaret on her marriage to Lord Snowdon in 1960.

The designs by Victor Stiebel in the V&A collections cover the period from 1927 to 1935.

9) The face of the model in this drawing, with the heavily emphasised eyes, follows the tradition established by silent-screen star Theda Bara, who popularised the word 'vamp' (a contraction of vampire, which she played in one of her films) to mean a predatory female, whose heavily khol-encircled eyes were her most memorable feature.

The combination of hair and neckband throw emphasis onto the eyes and blood red lips. The bare left shoulder is balanced by the weight of the hair being also on the left, while the bare shoulder and leg, at once revealed and concealed by the fabric strips, hint at intention and concealed delights.

10) This is a Stiebel design for an evening gown in black and silver with an appliqué or embroidered snaked coiled round it from an uneven hem to bodice. It is striking and original in all its details. The inside of the dress is lined in green - this contrasts the black exterior.

The dress has a square neck line with large shoulder straps. The model is wearing a pearl chocker with matching earrings and bracelet. The short bob hair cut with a fringe was typical of this era. There is a slight sketch for a dress on the mount of this design.

9) Victor Stiebel (1907-76), fashion design, London, 1928. Museum no. S.545-1983

10) Victor Stiebel (1907-73), fashion design, England, about 1927. Museum no. E.1077-1983

1930s

Following the crash of 1929 and the Great Depression, new, more down-to-earth attitudes forced on the world offered great scope for a new simplicity, as encapsulated by Coco Chanel (1883–1971). In Britain, fashion became more eclectic but also more feminine and graceful and, by 1930, the 'boyish' look had disappeared.

Victor Stiebel

11) Fashion design, by Victor Stiebel, London, 1933. Museum no. S.544-1983

Since the mid 19th century, couturiers had dressed major theatrical stars. Victor Stiebel (1907 - 1976) had designed productions while at university, before working in dress design at the House of Reville. In 1932 he opened his own fashion house and was soon in demand to provide contemporary costumes for leading actresses. Mary Ellis, for whom this costume was designed, was a leading actress and singer, and to dress her in a prestigious musical written by Jerome Kern and Oscar Hammerstein II and produced by C B Cochran would have been an excellent advertisement for the young couturier. He designed all her dresses in the production and those for her co-star, Eve Lister, and all the modern clothes in the Zoo and rehearsal scenes; the remainder of the costumes came coming from the Cochran wardrobe and the costume firm of Morris Angel & Son.

11) The dress was the height of chic, with its huge pleated shoulders, bold bow, nipped in jacket and long skirt. The gauntlet gloves helped balance the wide shoulders, while the large bow drew attention to the face. Although the design is coloured pale orange, the notes indicate that it should be made in chartreuse green satin, contrasting with the skirt's dull fabric and the exotic fur of the gauntlet gloves. Such designs were meant to flatter the wearer rather than the wearer be subservient to the designer and the leading lady would have had approval and maybe even a choice in the couturier.

12) The flared lower skirt of this blue dress by Stiebel is an example of the new cut introduced in this decade. The cut is characterised by its simplicity and Stiebel introduced a collar with a bow and tall cuffs all designed with multi-coloured ribbon to break the monotony.

These details match the slim orange belt. There is an inscription in pencil reading: 'I am enclosing bits of ribbon the type I should like for the collar and cuffs'.

13) In the 1930s it became fashionable to wear 'house pyjamas' – trousers with large bottoms made in a soft material. This design by Victor Stiebel shows how this concept could be transformed for more formal occasions from house cocktails to cruise parties.

Similar designs were also created by the Surrealist designer Elsa Schiaparelli. Stiebel's halter neck, sleeveless top contrasts the large bottom trousers wonderfully. The design includes bright orange gloves, a brim hat and matching shoes.

12) Victor Stiebel (1907-76), fashion design, London, 1934-5. Museum no. E.1075-1983

13) Victor Stiebel (1907-76), fashion design, London, 1934-5. Museum no. E.1074-1983

Norman Hartnell: fashioning royalty

14) Fashion design, by Norman Hartnell, London, 1936-9. Museum no. E.37-1943

In 1935 Norman Hartnell received his first Royal commission and from that moment right up to his death in 1979 he continued to create original designs for the Royal family, important members of British society, as well as international figures. The V&A collections contain a great number of examples of Hartnell's pre-war designs reflecting his highly sophisticated, elegant, and unsurpassed use of material and embroidery. These two After Six dresses were designed for H.R.H Princess Elizabeth; both are extremely feminine and delicate.

14) This evening dress was designed for H.M. Queen Elizabeth. A pencil inscription 'Gala' at the bottom of the page suggests that it was designed for an important occasion. The dress is entirely covered with an array of coloured sequences and would have undoubtedly bedazzled fellow guests. The boat line neck is also trimmed with sequins; the sleeves are three-quarter in length and embroidered to the tip of the shoulder.

The back has a long detached trail also fully embroidered edged with blue and pink patterned sequins in the shape of pyramids. The Queen is depicted wearing a diamond tiara. This ensemble is further enriched by elaborate pearl necklace and matching earrings. Across the left shoulder the Queen is also shown wearing a royal sash - supported by a ruby and diamond jewel. This dress exemplifies Hartnell's skill in designing dresses with elaborate embroidery.

15) This design is a full-skirted tier dress with minute waist with tiered yoke forming puff short sleeves. The skirt is all threaded with light blue coloured ribbon which emphasises the different layers. The dress is worn with matching jewellery and gloves.

The second design in pink net has a pointed waist band which holds a full net skirt scattered with pale blue ribbon. The body has a small heart shaped decolté trimmed with the same blue ribbon and the sleeves are exaggerated short and puff. In addition there is a flower decoration on the left side of her neck.

16) This design for a formal evening dress was specially created for H.M. Queen Mary. The dress falls in a straight line with a slight trail at the back. The elongated v-neck line is trimmed with lace.

On top of the dress he created a loose jacket with sleeves trimmed with Mink fur and edged with lace. This luxurious ensemble is completed with a magnificent row of jewels at the neck and a sparkling tiara.

16) Norman Hartnell (1901-79), fashion design, London, 1930s. Museum no. E.19-1943

15) Norman Hartnell (1901-79), fashion design, London, 1930s. Museum no. E.15-1943

1940s

World War II had a profound effect on fashion and it became regulated and framed by government decrees. However, despite these strict regulations and the violent upheavals brought about by war, couture design, led by a talented group of dressmakers, flourished.

The New Look

'I designed clothes for flower-like women, with rounded shoulders, full feminine busts, and hand-span waists above enormous spreading skirts.'

It is with those words that Christian Dior (1905 - 57), described the impact of his first collection in the Spring of 1947. At the time, rationing was still in place and austere, military styles were worn. Dior introduced hourglass silhouettes and luxurious fabrics, softening previously boxy shoulder pads and cinching the waist for a pronounced feminine look. So popular was his first collection that it was dubbed 'the New Look' by the press and was instantly emulated by designers across the world.

17) Fashion design, by Marjorie Field for Field Rhoades, London, 1940s. Museum no. E.426-2005

17) This design by Marjorie Field depicts a woman wearing a tailored, printed suit and a large hat decorated with feathers on both sides. A double-row of buttons are sewn onto the waistline of the jacket giving an impression of a small waist. In her right hand, she holds an umbrella made out of the same material as the suit. Marjorie Field was a high-end London designer, who quickly adopted Dior's fashionable New Look silhouette into her designs.

18) Italian-born René Gruau (1909 - 2004) moved to Paris in 1924 and started his career as fashion illustrator in the most prestigious magazines, including L'Officiel and Marie Claire. His collaboration with Christian Dior started in 1947 and Gruau, who perfectly captured the essence of the New Look, soon became an acclaimed figure in the world of Haute Couture. This drawing was commissioned for the fashion magazine 'Femina' around 1949.

19) This is a design by Bernard Blossac (1917 - 2001). Blossac was a fashion illustrator, who regularly drew for Vogue, L'Officiel and Harper's Bazaar. This drawing depicts a black bolero with a floral pattern in the 'New Look' style.

18) René Gruau (1909-2004), fashion illustration, Paris, 1949. Museum no. E.397-1986

19) Bernard Blossac (1917-2001), fashion illustration, Paris or London, late 1940s. Museum no. E.167-1987

Marjorie Field

Marjorie Field (Field Rhoades), fashion design, London, 1940s. Museum no. E.430-2005

The V&A has a substantial collection of high quality designs by Marjorie Field for the couture firm Field Rhoades. The provenance of these designs can be traced back to Gwen Mandley, an artist and friend of the designer. Field Rhoades was registered in the London street directories at 77, South Audley Street, London W1 for the years 1948–49; this corresponds to the date of the designs found in this collection. Marjorie Field also designed under the name, or for the firm, 'Matita'. Matita were a high-end ready-to-wear company who regularly advertised in Vogue during the 1940s.

20) Fashion design, by Ursula Sternberg-Hertz, London, about 1947. Museum no. E.844-1989

Ursula Sternberg-Hertz

Ursula Sternberg-Hertz was a well respected painter who exhibited extensively in Europe and the US. In the 1940s, she submitted a competition entry to the Ascher textile firm in London, who were renowned for working with fine artists to create patterns and designs for silk scarves and furniture fabric. She won 3rd prize but worked for the Ascher Studio for a year and for many years as a free-lance designer.

20) This painted sketch of a fashionably dressed female figure decorates the front board of Ursula Sternberg Hertz's folder of designs for textiles and dress, oiginally submitted to Ascher as part of an entry competition. This bold and colourful board demonstrates the importance the designer gave to overall presentation. The inscriptions are in watercolour and read 'Sender Ursula Sternberg-Hertz London 30 Ch. De Boitsfort Bruxelles and Ascer Wigmore Street London'. The folder is held together with a green velvet ribbon.

1950s

Often associated with the rise of youthful, ready-to-wear fashions, the fifties were nevertheless a prolific and successful decade for the fashion 'establishment' as embodied by couture houses and traditional dressmakers. Fashion illustration continued to flourish in the plethora of magazines published at the time.

Sigrid Hunt

Sigrid Hunt (later Roesen) was a fashion illustrator and editor. She came to England from Berlin in the early 1930s and worked for prestigious publications including Vogue, Tatler, and The Sketch. From the late 1950s to 1971 she worked in Germany for the Sudkurrier Welt der Frau and Die Mode.

The various preparatory phases shown for the Tatler front cover of 5 May 1954 here illustrated are a good example of the process and various stages of magazine illustration.

Sigrid Hunt, pencil sketch, Britain, 1954. Museum no. E.687-1986

Front cover of Tatler, featuring design by Sigrid Hunt, 5 May 1954. Museum no. E.684-1986

Sigrid Hunt, colour design, Britain, 1954. Museum no. E.685-1986

Jean Demarchy

Jean Demarchy (dates unknown) was a 1950s fashion illustrator who worked in soft pastels to create romantic, abstract, images of couture. Arguably, illustrations such as these fitted better with the luxurious and feminine ideal of couture than photography. These illustrations, especially from the Stiebel collection of 1953, display some of those shared aesthetics in the way they convey the soft, tactile nature of the fabrics.

However, the privileged status of fashion drawing faded rapidly during the 1950s, and photography soon gained more prominence in post-war magazines that wanted harder-hitting imagery.

21) This image was drawn for Harper's Bazaar around 1955. It shows a glamorous evening dress by Christian Dior (1905–57), featuring a full skirt and elaborate bustle bow.

22) This illustration features an evening dress by the London couturier Victor Stiebel (1907-76), drawn for Harper's Bazaar in 1953. Stiebel liked using bold, contrasting stripes in his designs, and also typically referenced historical dress with voluminous panniers and bustles.

21) Jean Demarchy, fashion illustration, Paris or London, about 1955. Museum no. E.685-1997

22) Jean Demarchy, fashion illustration, London, 1953. Museum no. E.686-1997

1960s

Before the late 1950s and 1960s, teenagers were expected to dress and behave very much as their parents. The 'Swinging Sixties', however, saw the emergence of a new youth market as teenagers rebelled against the aesthetics and values of their parents' generation and established their own trends in fashion and music.

Amongst other things, the mini-skirt was introduced, and couture was seen as very old-fashioned. London - not Paris - was leading fashion now, nurtured by the city's fashion schools and colleges, who were providing creative environments for crops of young, talented designers.

Mary Quant

23) Mary Quant (b.1934), fashion design, London, mid 1960s. Museum no. E.520-1975

The daughter of Welsh school teachers, Mary Quant (born 1934) gained a diploma in Art Education from Goldsmith's College, London. There she met Alexander Plunket Green, who later became her business partner and husband. Apprenticed to a milliner, Quant began to make her own clothes. These were influenced by the Chelsea beatniks she knew and dance outfits she remembered from childhood lessons.

In 1955, at a time when 'fashion wasn't designed for young people', Quant opened Bazaar, a boutique on the King's Road. She devised eye-catching window displays to attract customers. Her clothes were made up of simple shapes combined with strong colours like scarlet, prune and green. Prices were low compared to those charged for haute couture.

Famed for popularising the mini skirt, in 1966 Quant was awarded an OBE. In the early 1960s her designs were bought by the chain store J.C. Penney to be mass produced for the American market. The Quant label began to appear worldwide on accessories and make-up.

23) This design has a liberty bodice, long narrow sleeves and a front vertical zip. The skirt is very short and trimmed on the edge with a yellow colour. The same colour tights are worn. There is a small baby collar and a very narrow belt with a front buckle. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and continued for quite a while after this.

24) This bold design for a putty aubergine mini dress is made with a small liberty bodice with a full mini skirt attached to it. The top of the dress has a cow neck in yellow material inside and on the outside is beige with yellow.

There is a matching head scarf, belt and cuffs. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and continued for quite a while after this.

25) In this design Mary Quant decided to ignore the waist and added a very short frill skirt attached to the body of the dress creating the 'mini' effect. The sleeves are very short and bounded by glace kid red leather. The main dress is made out of pink Jersey wool.

The collar and the front slit are all bounded by the same glace kid leather as the sleeves, the leather has brass eyelets to enable the threading of shoe lace type ribbon. Mini skirts and dresses were a highly fashionable new trend in the late 1960s and continued for quite a while after this.

24) Mary Quant (b.1934), fashion design, London, mid 1960s. Museum no. E.525-1975

25) Mary Quant (b.1934), fashion design, London, mid 1960s. Museum no. E.523-1975

1970s

The 1970s were a pioneering decade, and saw the evolution of fashion into a proclamation of individuality. Seen as the reflection of the taste of the wearer, one of the consequences of these sartorial changes, was that fashion increasingly, became the concern of men as well as women.

‘Manly Sweater’ fashion design, by Patrick Caulfield for Ritva, London, 1972. Museum no. E.413-2005

Ritva and Patrick Caulfield

The Ritva knitwear firm was set up by Mike and Ritva Ross in 1966, producing revolutionary machine-knitted womenswear in bold colours and slinky shapes. These were sold in some of the most fashionable department stores and King's Road boutiques, and from 1972, in the Ross's own shop.

A new direction in men's knitwear came in 1969 when Mike Ross designed a line of appliquéd 'Ritva Man's' sweaters inspired by baseball shirts (the V&A collection includes a prototype, Museum no. T.14-2000). Each sweater was unique, with its own colourway.

This led to the Artist Collections of 1971 and 1972, when Ross invited artist friends, including David Hockney and Elizabeth Frink, to design 'wearable works of art'.

What Is Fashion Illustration

Artist Patrick Caulfield's (1936-2005) 'Manly Sweater', with its appliquéd leather patches and 'trompe l'oeil' pipe, is an ironic version of traditional 1950s masculinity. The V&A has also acquired Caulfield's original drawings for the sweater and seen together these represent an unusual document of a collaboration between art and fashion.

This coloured pencil drawing on paper includes an element of collage. One smaller piece of paper with a single drawing is mounted on a larger piece of paper with further drawings. Drawings depict various versions of a pipe and breast pocket. One breast pocket drawing also depicts an image of a bird. Some annotations on black pencil, including the artist's name and title 'P C Manly sweater'.

Patrick Caulfield (1936-2005) for Ritva, ‘Manly Sweater’ fashion design, London, 1972. Museum no. E.414-2005

Patrick Caulfield (1936-2005) for Ritva, ‘Manly Sweater’, London, 1972. Museum no. T.18-2000

John Bates

A prolific and innovative designer, John Bates (b.1938) often incorporated metallic, plastic and transparent fabrics in his creations. He is perhaps best remembered as the designer of Diana Rigg's wardrobe for the television series The Avengers in 1965.

26) This 1978 dress in silk is an interesting design with square shoulders and blouson body and an intricate cut full skirt. There is a tie belt around the waist and the sleeves have flare cuffs similar to the high collar.

27) This 1974 design is for a long printed Kaftan with an undulated bottom. The sides are finished with tassels. The print is particularly beautiful and individual you can see the detail of stylised flowers and birds. This is complemented by edge stitching around the Kaftan. The exotic element to this design makes it particularly striking.

26) John Bates (b.1938), fashion design, London, 1978. Museum no. E.570-1975

27) John Bates (b.1938), fashion design, London, 1974. Museum no. E.569-1975

Zandra Rhodes

A graduate of the Royal College of Art, Zandra Rhodes (b.1940) became famous for her prints on chiffon, and her use of flamboyant, bright colours. Her designs were considered too extravagant by British manufacturers and she set up her own retail outlet on Fulham Road, London, in 1969. Rhodes' extravagant appearance and style often attracted considerable publicity. She is credited with having introduced Punk fashions to the fashion industry with her 1977 collection entitled Punk Chic.

Zandra Rhodes (b.1940), design for a fur coat, London, 1970s. Museum no. C.282-1974

Zandra Rhodes (b.1940), design for a fur coat, London, 1970s. Museum no. C.286-1974.

Bill Gibb

28) Bill Gibb (1943-88), fashion design, London, 1970. Museum no. E.123-1978

Bill Gibb (1943–88) was a fashion designer whose creations defined the 1970s look. He opened his boutique Alice Paul in Kensington in 1967 and first designed for the youth market, with clean lines that bore the imprint of contemporary trends. In the 1970s, his style developed along eclectic and romantic lines inspired by the hippie scene and by medieval and pre-Raphaelite painting.

28) This is a fashion design for a long pleated skirt, long-sleeved blouse, laced jerkin and cloche hat, with two fabric samples attached. This design featured in Vogue in 1970, and the Sunday Times amongst other magazines. This design shows how different wool fabrics are used with contrast colour and pattern.

29) Jacket design with beret.

30) This is a design for a printed leather and suede pattern jacket with a hood. The Patterns seem influenced by ethnic designs. Other designs in the later 70s started to use a mixture of different fabrics and colour, for example leather with chiffon) This design is a good example of how leather was processed in a more fashionable and colourful way during this period.

29) Bill Gibb (1943-88), fashion design, London, 1976. Museum no. E.127-1978

30) Bill Gibb (1943-88), fashion design, London, 1976. Museum no. E.128-1978.

Fashion Figure Illustration

1980s

The increasing profile of women in the work place required a new fashion aesthetic, and the decade witnessed the emergence of 'Power Dressing'. Wide, padded shoulders became fashionable and women's clothes were inspired by masculine fashion and tailoring traditions. The period also saw the display of lavish evening wear, as exemplified by the opulent dresses of Oscar de la Renta.

Oleg Cassini

Oleg Cassini (1913–2006) was a prominent American fashion designer who famously dressed Jackie Kennedy, during her years in the White House. Cassini also had a lucrative ready-to-wear and licensing business with a wide range of branded accessories and cosmetics.

Fashion design, by Oleg Cassini, United States, 1988. Museum no. E.25-2000

Fashion design, by Oleg Cassini, United States, 1988. Museum no. E.24-2000

Bill Gibb

The drawing below right shows a design for the pop star Lynsey de Paul, for her performance at the Royal Variety Show, 1986. It is executed in colour wash, black ink and felt tip pen. By this time, Gibb's business was failing and this design may be one of his last.

Fashion design, by Bill Gibb, London, 1986. Museum no. E.522-1993

Costume design, by Bill Gibb, London, 1986. Museum no. E.523-1993

Antoni & Alison

The London based fashion design duo, Antoni & Alison, are Antoni Burakowski and Alison Roberts. They met in 1982 when studying fashion at St Martin's college. They are known for their eclectic and playful designs, including ranges of slogan and vacuum packed T-shirts.

Antoni & Alison, fashion design, London, late 1980s. Museum no. E.679.2-1997

Antoni & Alison, fashion design, London, late 1980s. Museum no. E.680.2-1997

Antoni & Alison, fashion design, London, late 1980s. Museum no. E.679.2-1997

Manolo Blahnik

Manolo Blahnik (b. 1942) is one of the most prominent and successful shoe designers of his age. His creations were famously immortalised in episodes of Sex and the City, and his name is now synonymous with luxurious and exquisitely designed shoes. He was awarded an honorary title of Commander of the British Empire in the Queen's 2007 Birthday Honours List, for services to the British fashion industry.

These designs are for ladies shoes, for possible production by Zapata Shoes Ltd, London, 1980.

Pencil Drawing Fashion Illustration

Manolo Blahnik (b.1942), design for a shoe, Britain, 1980. Museum no. E.1334-1979

Manolo Blahnik (b.1942), design for a shoe, Britain, 1980. Museum no. E.1331-1979

Pencil Drawing Fashion Illustrations

Manolo Blahnik (b.1942), design for a shoe, Britain, 1980. Museum no. E.1332-1979

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