Saturday, April 09, 2005
Fashion Report from London
Elegant chiffon, a flash of lace: Camilla Parker Bowles - now known as the Duchess of Cornwall - chose a swirl of a dress in cream silk topped by a matching coat for her marriage Saturday to Prince Charles. The outfit, crowned with a stylish and intensely feminine straw hat overlaid with ivory French lace and trimmed with a fountain of feathers. The duchess' hat was by Irish-born milliner Philip Treacy, who has worked for the French fashion house Chanel, and is known for the daring of his creations, which have included a faux bird cage and a pair of animal horns.
The new duchess' coat, in oyster silk basket weave, featured subtle herringbone embroidery while the silk chiffon dress, hemmed with vertical rows of appliqued woven disks made in Switzerland, peeped out beneath.
Britain's new Duchess of Cornwall wore pale beige suede court shoes with almond-colored toes and a 2-inch heel by design house L.K. Bennet.
Her clutch purse was made from embossed calf leather with a half-flap closing and lined with suede.
Hugh Green of Hugh and Stephen in London's Ebury Road kept Parker Bowles's flicked-back hair style, which Charles is reputed to love. Earlier this week, she had her blond highlights retouched.
For the blessing ceremony at St. George's Chapel in Windsor Castle, the duchess changed into another Robinson Valentine design, a long, fitted silk porcelain-blue dress and high-collared coat embroidered with gold thread, with a slight train. Clarence House said shades of blue and gold were her favorite colors.
'Robinson Valentine believed the dress required a sense of occasion for St. George's Chapel and so the aim was a flowing, elegant line, concentrating on proportion, fit and silhouette,' Charles' office said. 'The print and the embroidery create texture whilst retaining the lightness and subtlety of the fabric.'
The outfit was inspired by a piece of jewelry that had belonged to the duchess's mother; Robinson Valentine researched embroidery, technique and fabric in the textile collection at the Victoria & Albert Museum and decided the desired effect required them to create their own fabric.
On her head, the duchess wore a feather headdress covered in gold leaf and tipped with crystals.
Her shoes were pale gray silk with subtle gold embroidery detail on the toe, and she carried a small, simple bouquet of gray blue and yellow flowers tied with the same kind of silk used to make her dress.
Bird, of course, was dressed in silky natural feathers in varying shades of pink, ranging from the slightest blush of early dawn to striking full tones of the deepest pinks found in brilliant evening sunsets over water and the occasional Aurora. The feathers were freshly preened and glossed with flamingo wax for that extra luster that shown like a rare pink diamond when the light hit them in certain angles. He wore no hat.
Details
The new duchess' coat, in oyster silk basket weave, featured subtle herringbone embroidery while the silk chiffon dress, hemmed with vertical rows of appliqued woven disks made in Switzerland, peeped out beneath.
Britain's new Duchess of Cornwall wore pale beige suede court shoes with almond-colored toes and a 2-inch heel by design house L.K. Bennet.
Her clutch purse was made from embossed calf leather with a half-flap closing and lined with suede.
Hugh Green of Hugh and Stephen in London's Ebury Road kept Parker Bowles's flicked-back hair style, which Charles is reputed to love. Earlier this week, she had her blond highlights retouched.
For the blessing ceremony at St. George's Chapel in Windsor Castle, the duchess changed into another Robinson Valentine design, a long, fitted silk porcelain-blue dress and high-collared coat embroidered with gold thread, with a slight train. Clarence House said shades of blue and gold were her favorite colors.
'Robinson Valentine believed the dress required a sense of occasion for St. George's Chapel and so the aim was a flowing, elegant line, concentrating on proportion, fit and silhouette,' Charles' office said. 'The print and the embroidery create texture whilst retaining the lightness and subtlety of the fabric.'
The outfit was inspired by a piece of jewelry that had belonged to the duchess's mother; Robinson Valentine researched embroidery, technique and fabric in the textile collection at the Victoria & Albert Museum and decided the desired effect required them to create their own fabric.
On her head, the duchess wore a feather headdress covered in gold leaf and tipped with crystals.
Her shoes were pale gray silk with subtle gold embroidery detail on the toe, and she carried a small, simple bouquet of gray blue and yellow flowers tied with the same kind of silk used to make her dress.
Bird, of course, was dressed in silky natural feathers in varying shades of pink, ranging from the slightest blush of early dawn to striking full tones of the deepest pinks found in brilliant evening sunsets over water and the occasional Aurora. The feathers were freshly preened and glossed with flamingo wax for that extra luster that shown like a rare pink diamond when the light hit them in certain angles. He wore no hat.
Details
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