Last week ‘London Fashion Week’ came to town and the media was saturated with images of models strutting their way through the catwalk shows, watched by celebrity fashion groupies and stony-faced, glossy magazine editors, tightly squashed together like pickled eggs on the front row. They smiled and pandered to the paparazzi but can they really be that comfortable, resting one bum cheek on the bench with a cross-legged pose that secures their front row status, while trying not to inhale the armpit of their neighbour.
With the fashion circus in town I felt inspired to visit the Fashion Rules exhibition at Kensington Palace. This exhibition opened in the summer and with probably one of the UK’s most prominent fashion ambassadors, the Duchess of Cambridge about to take up residence at the palace, I decided to go and take a look. On show are dresses from the wardrobes of her Majesty Queen Elizabeth II in the 1950’s, Princess Margaret’s frocks from the 60’s and 70’s and Diana, Princess of Wales’ outfits from the 80’s.
(c) Her Majesty Queen Elizabeth II 2013 Historic Royal Palaces/Robin Forster
The dresses are displayed in cabinets across five dimly lit rooms. The blinds are drawn down, to no doubt protect the fabrics, but also to visually allow footage of the three protagonists to be projected on to the outer walls. The lack of light and air does give a mausoleum atmosphere to the exhibition. The glass cases holding the static dresses felt very dry and emotionless. I love looking at history, albeit recent in the making, and am fascinated by objects and items from a different era but looking at these beautiful clothes, initially I struggled to feel a connection.
The skill and craftsmanship that has gone into the fabrics and design were very visible and to be appreciated. The cut of the 1950’s evening dresses designed by Norman Hartnell and Hardy Amies with their nipped in waists and full skirts were gorgeous.
Historic Royal Palaces (c) Her Majesty Queen Elizabeth II 2013
The fabrics with gold and lace appliqué work piled on to folds of rich satin were stunning and as ever with the Historic Palace exhibitions there was great background information available.
(c) Lord Linley and Lady Sarah Chatto Historic Royal Palaces/Robin Forster
But for me, it was when I saw a black and white photograph in the corner of a cabinet showing Princess Margaret’s halter neck dress that the exhibition came alive. Margaret first wore this dress by an unknown designer to a cinema screening and caused a sensation in the press as it was far more ‘Hollywood’ and risqué than the more formal decorum of the Royal Circle. In the photo Margaret turns a lovely dress into a stunning moment. She lights up the camera with her sensuous eyes and languidly smokes a cigarette in a long black holder. The draping halter neck speaks volumes about the young confident princess, who is daring to be different, and seemingly revelling in the excitement. That was when I realised, unlike sculpture, painting and works of art which trigger an emotive reaction, a dress without its wearer is incomplete, an unfinished creation. Clothes are extensions of expression and need to be folded around the personality that brings them alive, in this case three very iconic members of the Royal Family.
(c) Lord Linley and Lady Chatto. Image Historic Royal Palaces/Robin Forster
I looked at the turban and kaftan of Princess Margaret and tried to imagine the exotic fancy dress party that she attended on the island of Mustique.
(c) Lord Linley and Lady Sarah Chatto Historic Royal Places/Robin Forster
I paid closer attention to the films projected on the screens where the dresses break free from their trophy cases and are brought to life.
I think appreciating clothes statically displayed is challenging, in the same way the front row of fashion week would find it hard to applaud a stage of motionless mannequins. It helps if you can let your imagination go when you look at the cut, colour and style of the fabric. Try and explore the historical background, find out about the events where the clothes were worn and the personalities of the people who wore them. But for me nothing will replace seeing the clothes being worn by the person they were designed for.
Historic Royal Palaces (c) Collector/Designer Pat Kerr (Mrs John Tignett)
When I walked into the last exhibition room, I watched one visitor walk around the four different outfits of Princess Diana. She stopped to look at a midnight blue strapless evening gown with a subdued reaction, but as she turned round and saw on film the projected image of Diana wearing the same dress, she put her hand to her mouth and gasped ‘oh she was so beautiful’. I couldn’t have agreed more.
A Life Most Ordinary 