From his Manhattan studio, designer Oscar de la Renta stated, “Catherine Middleton was wearing what she was supposed to wear: traditional and not ostentatious or over embroidered or over-anything” It was, he added, “a pretty dress, beautifully executed. Discreet and elegant.” It may have been safe. But, he says, “it was exactly right.”
Middleton contacted Burton several months ago to commission the gown. Word leaked out in February, but Burton repeatedly denied it to help Middleton keep all details about the dress a secret from William. Together, Burton and Middleton came up with a gown with classic lines: a long-sleeved, lace bodice over an ivory and white satin gazar corset and full skirt that the palace press office described as “in the shape of an opening flower.” Much of the lace was made by the Royal School of Needlework at Hampton Court Palace. The hips were padded and the silhouette was based on Victorian corsetry, both McQueen signature elements.
But there were many other references, too. The lace bodice, stovepipe sleeves and V-neckline recalled the gown that MGM wardrobe designer Helen Rose made for Grace Kelly when she married Prince Rainier of Monaco in 1956 — considered to be one of the most beautiful wedding gowns ever. “It was very smart to reference a style icon like Grace Kelly,” Silver said. “Kelly’s dress doesn’t look out of style 40 or 50 years later and I don’t think this one will, either — unlike Princess Diana’s, which really represents the 1980s.”
“And it referenced Queen Elizabeth’s gown in shape and volume,” added Grant, referring to the ivory duchess satin dress, designed by Norman Hartnell, that then-Princess Elizabeth wore when she married her distant cousin Prince Philip of Greece and Denmark in Westminster Abbey in 1947. It, too, had a wasp waist and a V-neckline, though it was far less decollete than Middleton’s.
The back of Middleton’s gown, with 58 gazar- and organza-covered buttons, a bustle and a nine-foot-long chapel train, was equally — if not more — lauded. “The folded bustle in the back was my favorite part,” said Rose. “I have seen similar details in Sarah Burton’s gowns for McQueen, and this was the most stunning detail to me.”
Valentino, who has made many a wedding gown in his day, including Elizabeth Taylor’s when she married Larry Fortensky, concurred: “I loved the little flounce on the back of the skirt.” New York-based designer Chris Benz found the train to be “modern and unfussy.” Said Silver, “I’m fond of dresses having two things going on, arriving looking one way, and leaving looking another.”
Middleton’s look was finished off with an ivory silk tulle veil trimmed with hand-embroidered flowers and held in place by a diamond tiara made by Cartier in 1936, which Queen Elizabeth lent to Middleton for the wedding her something borrowed. The tiara was originally purchased by the queen’s father, the Duke of York (later King George VI), for her mother, Elizabeth. The queen’s parents gave it to her for her 18th birthday. Middleton’s diamond drop earrings were by London jewelers Robinson Pelham and were a wedding gift from her parents.
“And it referenced Queen Elizabeth’s gown in shape and volume,” added Grant, referring to the ivory duchess satin dress, designed by Norman Hartnell, that then-Princess Elizabeth wore when she married her distant cousin Prince Philip of Greece and Denmark in Westminster Abbey in 1947. It, too, had a wasp waist and a V-neckline, though it was far less decollete than Middleton’s.
The back of Middleton’s gown, with 58 gazar- and organza-covered buttons, a bustle and a nine-foot-long chapel train, was equally — if not more — lauded. “The folded bustle in the back was my favorite part,” said Rose. “I have seen similar details in Sarah Burton’s gowns for McQueen, and this was the most stunning detail to me.”
Valentino, who has made many a wedding gown in his day, including Elizabeth Taylor’s when she married Larry Fortensky, concurred: “I loved the little flounce on the back of the skirt.” New York-based designer Chris Benz found the train to be “modern and unfussy.” Said Silver, “I’m fond of dresses having two things going on, arriving looking one way, and leaving looking another.”
Middleton’s look was finished off with an ivory silk tulle veil trimmed with hand-embroidered flowers and held in place by a diamond tiara made by Cartier in 1936, which Queen Elizabeth lent to Middleton for the wedding her something borrowed. The tiara was originally purchased by the queen’s father, the Duke of York (later King George VI), for her mother, Elizabeth. The queen’s parents gave it to her for her 18th birthday. Middleton’s diamond drop earrings were by London jewelers Robinson Pelham and were a wedding gift from her parents.
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