History’s Runway: The Flowers of the Fields of France Gown, 1957

The Flowers of the Fields of France Gown
Norman Hartnell, 1957
This and all related images:
The Victoria and Albert Museum

Queen Elizabeth II is not the first name that comes to mind when you think of a fashion style-setter. But, iyou go back and look at Her Majesty’s collection of gorgeous gowns, you will notice that they are quite extraordinary, and some of them, rather cutting-edge. For many years, Norman Hartnell was the Queen’s personal designer. Here, we see a creation by Hartnell which is anything but dull.


This full-skirted, full length evening gown in ivory silk satin with a princess-seamed bodice and draped fold at hips, extends into a large self-fabric bow positioned at 7/8ths length down the skirt. It is carefully embroidered with miniature bees, grasses, wheat and wild flowers worked in relief in faceted glass stones, gold beads, “brilliants” and variously shaped pearls, with flowers of mother-of-pearl and gold petals. The gown was designed for the Queen's state visit to Paris, April 8-11th, 1957 and, fittingly, refers to French motifs, including the "Flowers of the Fields of France" (traditionally, poppies, daisies and crossed wheat sheaves) and Napoleonic bees. These diplomatic motifs are worked in relief. And, here’s where the Queen is clever. The dress was intended to both compliment the French nation and draw attention to the Queen. Knowing that she was going to one of the fashion centers of the world, she knew she had to dazzle them. And, she certainly did.

“The Flowers of the Fields of France Gown” was worn to the state dinner on the first night pf the visit. The dinner hosted by President René Coty at the Elysée Palace, and was followed by a visit to the Opéra to see a ballet by Lifar from The Diaries of Cynthia Jebb.

When the dress was displayed at Kensington Palace in 2006-7. Maureen Markham, one of the embroiderers who worked on the dress, recalled that she and her team worked with blacked-out windows to avoid the peering-eyes of the press and that she hoped that the Queen would have “nice plush cushions to sit on so as not to crush the embroidery.”

This is just one bit of Norman Hartnell’s brilliance. He had been court dressmaker since 1938, working the Queen Elizabeth, the Queen Mother and continued to work with the Royal Family until his death in 1979. 

Painting of the Day: Queen Elizabeth II in Coronation Robes, 1953

Design for the Coronation Gown
Norman Hartnell, 1953
Crown Copyright
Courtesy of Her Majesty Queen Elizabeth II
The Royal Collection

Norman Hartnell, a favorite designer of Queen Elizabeth II, was the first couturier to be knighted when he received the honor during the Silver Jubilee of 1977. For decades, Hartnell served as couturier to senior members of the royal family and made both the wedding dress and Coronation Dress of Queen Elizabeth II. 
The design of the coronation dress was well-guarded, allowing considerable excitement to build in anticipation of the ceremony. This painting shows Hartnell’s final design which relied on his trademarks of extensive embroidery, pearls and other glittering adornment. 

The finished gown, 1953
The Royal Collection

Her Majesty in Her Coronation Robes
Oil Painting by 

Sir Herbert James Gunn (1893-1964) (artist)
Creation Date:
1953 - 1954

Crown Copyright

The Royal Collection

Image Courtesy of Her Majesty Queen Elizabeth II

Painting of the Day: A Preliminary Sketch For Queen Elizabeth's Hat and Gown for the Royal Wedding, 1947

Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

I was very thrilled to find this rare preliminary sketch for Queen Elizabeth’s (The Queen Mother’s) gown and hat for the marriage of her daughter, Princess Elizabeth (now Queen Elizabeth II) to the Duke of Edinburgh. The sketch was made in the spring of 1947 by Sir Norman Hartnell. 

Painting of the Day: Queen Elizabeth II in Coronation Robes, 1953

Design for the Coronation Gown
Norman Hartnell, 1953
Crown Copyright
Courtesy of Her Majesty Queen Elizabeth II
The Royal Collection

Norman Hartnell, a favorite designer of Queen Elizabeth II, was the first couturier to be knighted when he received the honor during the Silver Jubilee of 1977. For decades, Hartnell served as couturier to senior members of the royal family and made both the wedding dress and Coronation Dress of Queen Elizabeth II. 


The design of the coronation dress was well-guarded, allowing considerable excitement to build in anticipation of the ceremony. This painting shows Hartnell’s final design which relied on his trademarks of extensive embroidery, pearls and other glittering adornment. 

The finished gown, 1953
The Royal Collection

History's Runway: Princess Elizabeth's Wine Crepe Evening Gown, 1936-1939

Evening Gown Design
Norman Hartnell, 1936-39
This gown for then-Princess Elizabeth was later made of wine crepe, peach silk
with an intricate embroidery of glass beads, semi-precious stones and sequins.
The Victoria & Albert Museum

Norman Hartnell—perhaps the favorite of the Twentieth Century couturiers to the British royal family—will long be remembered for the glamorous gowns that he created for Queen Elizabeth (the Queen Mother), Princess Margaret Rose and Queen Elizabeth II.  From the late 1930s to the 1970s, Hartnell—from his Mayfair Couture House--designed a wide range of clothes that the female members of the Royal Family wore for their official duties as well as in their personal lives.

This drawing, made between 1936 and 1939, shows the design for an elegant wine-colored crepe evening gown and delicate peach jacket which were created for Queen Elizabeth II, while still Princess, as  part of her personal wardrobe, rather than being intended for state occasions. The Queen wore this ensemble for private dinners or for personal evening engagements. In true regal style, the neckline of the dress and the jacket are encrusted with beading, sequins and gemstones—the sort of intricate embroidery that became a Hartnell trademark.  There is a sample of the pink glass beading, sequins and semi-precious stones along with the crepe fabric attached to the sketch.

Painting of the Day: Queen Elizabeth II in Coronation Robes, 1953

Design for the Coronation Gown
Norman Hartnell, 1953
Crown Copyright
Courtesy of Her Majesty Queen Elizabeth II
The Royal Collection

Norman Hartnell, a favorite designer of Queen Elizabeth II, was the first couturier to be knighted when he received the honor during the Silver Jubilee of 1977. For decades, Hartnell served as couturier to senior members of the royal family and made both the wedding dress and Coronation Dress of Queen Elizabeth II.


The design of the coronation dress was well-guarded, allowing considerable excitement to build in anticipation of the ceremony. This painting shows Hartnell’s final design which relied on his trademarks of extensive embroidery, pearls and other glittering adornment.

The finished gown, 1953
The Royal Collection

History's Runway: Queen Elizabeth's Wedding Dress, 1947

This and all related images from:
The Royal Collection

One of the Queen’s favorite designers throughout his life, Sir Norman Hartnell (1901-1979) was enlisted by Her Majesty as a princess to design the gown for her 1947 marriage to Lieutenant Philip Mountbatten.


Hartnell submitted designs for the dress in August 1947. These designs showed his vision of a bridal gown of fine pearl embroidery in a floral design. He cited as his inspiration Botticelli’s painting of Primavera. The Princess gave Hartnell her approval.

The rich ivory dress of duchesse satin contrasts beautifully with the white seed pearls which were imported from America. Further embellishment comes from silver thread, sparkling crystals and transparent appliqué tulle embroidery. The magnificent 13-foot silk tulle full court train attaches at the shoulders and is adorned with embroidery, pearls, crystal and appliqué duchesse satin. The ensemble was completed by a silk tulle veil and ivory duchesse satin high-heeled sandals, trimmed with silver and seed pearl buckles, made by Edward Rayne.

Painting of the Day: A Preliminary Sketch For Queen Elizabeth's Hat and Gown for the Royal Wedding, 1947

The Royal Collection

I was very thrilled to find this rare preliminary sketch for Queen Elizabeth’s (The Queen Mother’s) gown and hat for the marriage of her daughter, Princess Elizabeth (now Queen Elizabeth II) to the Duke of Edinburgh. The sketch was made in the spring of 1947 by Sir Norman Hartnell.

History’s Runway: The Flowers of the Fields of France Gown, 1957

The Flowers of the Fields of France Gown
Norman Hartnell, 1957
This and all related images:
The Victoria and Albert Museum

Queen Elizabeth II is not the first name that comes to mind when you think of a fashion style-setter. But, iyou go back and look at Her Majesty’s collection of gorgeous gowns, you will notice that they are quite extraordinary, and some of them, rather cutting-edge. For many years, Norman Hartnell was the Queen’s personal designer. Here, we see a creation by Hartnell which is anything but dull.


This full-skirted, full length evening gown in ivory silk satin with a princess-seamed bodice and draped fold at hips, extends into a large self-fabric bow positioned at 7/8ths length down the skirt. It is carefully embroidered with miniature bees, grasses, wheat and wild flowers worked in relief in faceted glass stones, gold beads, “brilliants” and variously shaped pearls, with flowers of mother-of-pearl and gold petals. The gown was designed for the Queen's state visit to Paris, April 8-11th, 1957 and, fittingly, refers to French motifs, including the "Flowers of the Fields of France" (traditionally, poppies, daisies and crossed wheat sheaves) and Napoleonic bees. These diplomatic motifs are worked in relief. And, here’s where the Queen is clever. The dress was intended to both compliment the French nation and draw attention to the Queen. Knowing that she was going to one of the fashion centers of the world, she knew she had to dazzle them. And, she certainly did.

“The Flowers of the Fields of France Gown” was worn to the state dinner on the first night pf the visit. The dinner hosted by President René Coty at the Elysée Palace, and was followed by a visit to the Opéra to see a ballet by Lifar from The Diaries of Cynthia Jebb.

When the dress was displayed at Kensington Palace in 2006-7. Maureen Markham, one of the embroiderers who worked on the dress, recalled that she and her team worked with blacked-out windows to avoid the peering-eyes of the press and that she hoped that the Queen would have “nice plush cushions to sit on so as not to crush the embroidery.”

This is just one bit of Norman Hartnell’s brilliance. He had been court dressmaker since 1938, working the Queen Elizabeth, the Queen Mother and continued to work with the Royal Family until his death in 1979.