Less than three months before the wedding date, one of Hartnell's designs was approved and he began his research immediately. He describes this in his autobiography (1955): 'I roamed the London Art Galleries in search of classic inspiration and fortunately found a Botticelli figure in clinging ivory silk, trailed with jasmine, smilax, syringa and small white rose-like blossoms. I thought these flora might be interpreted on a modern dress through the medium of white crystals and pearls.'
Because of Wartime restrictions, the pearls were not available in this country, and eventually Hartnell obtained twenty thousand of the correct pearls from America. Once the pearls were in his possession Hartnell set about transferring the embroidery design to the paper pattern, but before the embroideresses could carry out the work Hartnell found himself in the throes of a publicity scandal. You are reading an original 'Queen's Wedding Dress' royalty fashion history article by Pauline Weston Thomas at
Because of Wartime restrictions, the pearls were not available in this country, and eventually Hartnell obtained twenty thousand of the correct pearls from America. Once the pearls were in his possession Hartnell set about transferring the embroidery design to the paper pattern, but before the embroideresses could carry out the work Hartnell found himself in the throes of a publicity scandal. You are reading an original 'Queen's Wedding Dress' royalty fashion history article by Pauline Weston Thomas at
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