The Box Queen Fashion Lifestyle 2022
When it comes to the world of fashion and lifestyle, queens are not necessarily left out. Queen Elizabeth || established the power-dressing trend and has a unique sense of style.
In this article we discuss about The Box queen fashion lifestyle. The Queen is a dress pioneer with a strong sense of personal taste
She knows what suits her and what looks good on her, and she uses her attire to project an air of regal dignity. Major fashion trends including tiaras, Barbour jackets, headscarves, bow blouses, and more have been influenced by her sense of style.
Below is a collection of current fashion styles that were influenced by the Queen.
A celebration of Her Majesty’s life in fashion.
Royal and dress historian and curator, Claudia Acott Williams, celebrates Queen Elizabeth II’s life as a style icon and the importance of what she wore on the international stage.
On 2 June 1953, Queen Elizabeth II was crowned at Westminster Abbey before a global audience of 20 million people.
For many households, the coronation brought television into the home for the first time. What they witnessed was the pinnacle of costume drama as a 26-year-old woman pledged her life to the service of the nation.
The Queen as style icon: colours solid and bright as a Cluedo piece
Her remarkably consistent, well-chosen wardrobe made her as recognisable to us as a member of our own family.
Elizabeth II’s coronation dress was perhaps the most iconic of her reign. Couturier Norman Hartnell was given just eight months to design and produce not only the Queen’s dress, but those of an ensemble cast of senior female royals and maids of honour. After exhaustive research, he presented nine designs.
The Queen chose a gown lavishly embellished in Hartnell’s trademark embroidery with the floral emblems of the United Kingdom and her dominions.
The Tudor rose, shamrock, thistle and leek were woven in gold, silver, coloured threads and glittering beads alongside maple leaves, ferns, acaias, proteas, lotuses, wheat, cotton and jute. Unbeknown to the Queen, he also stitched a four-leafed shamrock into the skirt for luck.
The dress alone weighed 30lb and she loaded the velvet and ermine coronation robes and St Edward’s Crown, itself a considerable 5lbs, on top.
Cecil Beaton, who captured the official coronation portraits, described how the combination of sumptuous gown, ceremonial robes and Crown Jewels imbued her with a “Byzantine magnificence.”
But such opulence was not purely gratuitous. Throughout history it has served an important constitutional purpose: to reinforce the status of the monarch and distinguish them from the people and palaces that surround them. The Queen’s clothes needed to ensure she looked as she should: like a Queen.
The key to her sartorial success was her relationship with her designers. While Princess Margaret could indulge in the latest Parisian fashions for Christian Dior’s ‘New Look’, Elizabeth II remained loyal to the doctrine, established by Queen Charlotte in the eighteenth century, that royal women should wear British.
Her early wardrobe was defined by the work of two couturiers: the sumptuous gowns of Norman Hartnell and the crisp tailoring of Hardy Amies; helping build the capital’s reputation as a centre for fashion. On the few occasions she wore something ‘off the rack’, like the cotton Horrockses dresses of her 1953 Bermuda tour, they became instant best-sellers, but largely her wardrobe was bespoke.
By working with just a few select designers throughout her reign, the Queen ensured that her clothes were carefully tailored to the unique demands of her role. Designing for the Queen was no easy task. On average she undertook 300 official engagements a year. Royal tours and State Visits presented particular challenges. She took 150 specially designed outfits on her first Commonwealth tour alone and hundreds more followed.
Designers like Hartnell and Amies, Ian Thomas, John Anderson, Stuart Parvin and Angela Kelly each developed ingenious hacks to ensure that even the most romantic of her dresses functioned for the complex schedule of engagements across different countries, cultures and climates. Skirt hems were weighted against the breeze, textiles reinforced for pinned insignia, necklines shaped around jewellery and hats measured against the royal car.
Over the years her couturiers revealed insights into the creation of the royal wardrobe. Hartnell and Thomas would be briefed by the Queen’s Ladies-in-Waiting and a series of designs and swatches sent to the palace.
A pencilled tick indicated her approval and designs might be returned with scribbled requests to change the colour or add sleeves. More recently, Kelly started her designs with ‘feelers’, large fabric samples which she squeezed and twisted to see if the material creased. Designers were usually permitted two fittings.
In between, Amies’s worked on what he called, ‘The Queen’s Dummy’, modelled and remodelled on her evolving figure and a cotton toile was used to avoid expensive mistakes. Several couturiers described how the Queen tested her clothes thoroughly at fittings. She waved, sat, walked up and down stairs, and modelled outfits with hats and bags, while Kelly – who shared a shoe size with her boss – paced Buckingham Palace’s corridors to wear the Queen’s shoes in.
Central to the Queen’s role was representing Britain overseas. She visited more than 120 countries making her one of the most widely travelled monarchs in history. Subtle flattery woven into the fabric of her clothing helped strengthen foreign ties and often said as much about the intention of the visit as her speeches. It proved so effective that her wardrobe became an important part of the Foreign Office’s diplomatic planning.
Embroidery was particularly useful. During a Commonwealth visit to Canada in 1959, the Queen wore a silk organza gown delicately embroidered with the provincial flower of Nova Scotia, the mayflower. She adopted a similar approach when she visited China in 1986, the first British monarch to do so. To dine with leader Deng Xiaoping she wore an Ian Thomas dress adorned with sprays of tree peony blossoms, China’s national flower.
Brooch diplomacy was another trademark tactic as Welsh diamond daffodils and Australian hibiscus made shimmering compliments to her host.
Colour was perhaps the most obvious tool in her arsenal. In 2011 she became the first British monarch to visit the Republic of Ireland for a century. In a show of solidarity with the Irish people, the Queen showcased a series of Gaelic green ensembles by Parvin and Kelly.
Bright and beautiful
Crucially, colour also ensured Elizabeth II was visible to crowds and cameras. She was, Kelly said, acutely aware that people ventured far and wide to catch a glimpse of her and was keen to reward their efforts.
Early in her reign she was often the only women in a room full of darkly clad men, so Hartnell dressed her in pretty pastels to ensure she stood out. Blue, Amies observed, “was obviously going to be [her] great colour, dictated by those oversized blue eyes.” During the 1960s and 70s she embraced the fashions for brighter colours and diaphanous fabrics, but it is the rainbow Queen of recent years that many will remember most fondly.
Under Kelly’s confident direction since her appointment as Senior Dresser in 1996, neatly tailored coats and matching hats in increasingly bold colours became Elizabeth II’s trademark look. Who can forget the neon lime number worn for the Trooping the Colour that marked her 90th birthday! The vibrant block colour contrasted ingeniously with the ceremonial red of the military uniforms and ensured that even among the pageantry our diminutive Queen was clearly visible.
In her final decade, Elizabeth II remained closer to home. US photographer Annie Leibovitz photographed the Queen on two occasions. The spectacular portraits of the first sitting presented a monarch of Hollywood dreams. The second, by contrast, revealed the Queen off-duty in her favourite tartan kilts and tailored tweeds, surrounded by family and dogs at Windsor Castle. It was a pertinent reminder that behind the carefully stage-managed façade was a woman, wife and mother most at home in the countryside.
Perhaps surprisingly, it was this version of the Queen that had the greatest fashion influence. Her annual appearances at the Royal Windsor Horse Show were an enduring and accessible model for countryside attire and a gift to fashion columnists who detailed how women young and old could imitate her look. It was, of course, dominated by classic British brands: Hunter wellies, cardigans by Pringle of Scotland, blouses from Grosvenor Shirts Ltd, quilted Barbour jackets and Mackintosh trenches were all wardrobe stalwarts, each appointed the coveted Royal Warrant for their service to monarch. A rare exception was permitted only for her Hermès silk squares; a perennial favourite which she sported knotted neatly under the chin.
Long before it was fashionable, she championed reuse and re-wear. Dresses remained in her wardrobe for 25 years before being given to museum collections. Shoes supplied by brands such as Rayne and Stuart Weitzman were commissioned only in black, white and cream – heels of two inches or less – so they could be matched with any outfit. Once her clothes had fulfilled their official role, they often become part of her private wardrobe worn at home in Sandringham or Balmoral where she daily encountered the muddy paws of her beloved brood of Corgis.
During her long tenure in the public eye, Queen Elizabeth II played many parts: Sovereign, diplomat, advocate, equestrian and mother, to name but a few. Having lived her life on the public stage, one got the sense that her clothing became her armour. Historic jewels, colourful hats and white gloves all served to distinguish her from the crowd.
With the support of a few loyal designers, she avoided the foibles of fashion to craft an image which was elegant, timeless, and instantly recognisable. Above all, clothes were a tool for doing her job. As a Lady-in-Waiting observed, “the Queen is very modest with a complete lack of vanity, she only looks in a mirror to check
The Queen was one of the greatest fashion figures the world has ever known. It is testament to her extraordinary life that 70 years of style will go down as one of her more minor achievements.
In her rainbow colours she flew a flag for a dependable, unflashy cheer. Each day, she doubled down on one colour, wearing it head to toe. She wore yellow, red, pink, purple, blue or green. (She was ever the diplomat, so we will never know which was her favourite. I always thought she looked particularly pretty in buttercup yellow, not an easy colour to pull off.)
A plain knee-length coat layered over a dress in the same colour or a coordinating floral pattern, and matched with a hat. Neutral accessories: a handbag hanging from her left wrist, gloves, and block-heeled shoes. A brooch at her left lapel, and a triple strand of pearls around her neck.
A photograph of the Queen from May 1977, taken during her silver jubilee tour, shows her in a duck egg blue coat with self-covered buttons, with a dress and coat to match. The wide lapels of the coat show a glimpse of the pearls at her throat, and her white gloves match her handbag. Another photograph, taken 42 years later at the February 2019 centenary celebrations for GCHQ, shows her in an almost identical outfit.
The coat is a bolder blue, the hat more angular, the gloves and bag now black rather than white, but these are mere details. It is essentially the same outfit. It hits at the same point at the knee, has the same clean silhouette. This remarkable constancy, which th couturier Sir Norman Hartnell called “a non-sensational elegance”, has defined the Queen’s wardrobe.
With her ceremonial brights and sharply tailored lines, Queen has been described as the ultimate power dresser. But that does not do justice to the spirit in which she dressed. There was a generosity and warmth to a wardrobe that helped all of us to feel that we knew her. Her clothes were chosen not for how flattering they looked in her mirror but for how well they spoke to the rest of us. Attending state occasions and gala openings, walking to church or in her box at Ascot, the Queen was as recognisable to us as our own family members.
You didn’t even need to see her face to pick her out in an instant. The diminutive but sturdy figure; the colour, solid and bright as a Cluedo piece in Mrs Peacock purple or Colonel Mustard yellow. (When it rained, her umbrella was transparent.) She made herself part of the landscape of ordinary people, as familiar as a grandparent’s photo on the mantelpiece. Most of us never got a garden party invite, but through the way she dressed, she made herself familiar to us. She was a fixed, unwavering landmark who helped us steer a steady course, like the spot a ballerina focuses on to keep her balance in a pirouette.
Monarchs throughout history have used clothes to impress their subjects with their wealth and status. Think of Henry VIII, shoulders padded like a Tudor linebacker; or Louis XIV of France in his red high-heeled shoes and white ermine. The Queen knew how to turn on the firepower when the occasion called for it. It took 350 women seven weeks to embroider 10,000 seed pearls into flowers on her spectacular 1947 wedding dress.
The annual state opening of parliament saw her in a white fur stole, white gloves, and her diamond diadem crown, a magical, Narnia-white contrast to the blood-red parliamentary robes around her.
But the look by which most of us will remember the Queen is not the fashion of her opulent gowns, but her day-to-day coats and dresses in their crayon brights.
Stewart Parvin, one of the royal couturiers, once confirmed to the Telegraph that when a new pair arrived, a Buckingham Palace employee would be tasked with the job of pacing the long corridors in the shoes and a pair of cotton ankle socks, to break them in so that the Queen did not get blisters.
Royal privilege, to be sure – but quite different, surely, from having a valet put toothpaste on one’s toothbrush. As Parvin put it: “The Queen can never say, ‘I’m uncomfortable, I can’t walk any more.’”
There were times, also, when matters of state inserted themselves into the logistics of dressmaking.
The silk for her wedding dress had to be imported from China, Italian silk being deemed inappropriate so soon after the end of the second world war, for an occasion which Time magazine called the Allies’ first great postwar celebration.
There have been moments of frivolity, humour and perhaps even mischief. In contrast to the simplicity of her clothes, she had a penchant for theatrical millinery.
The 1960s and 1970s were the high-water mark of her most fabulous hats, with wrapped silk turbans, feather cloches, fox-fur cossack hats, and floral swim-cap styles.
Her headgear was brimful of personality. In 1960, for the wedding of her sister, she teamed her turquoise dress and bolero with a hat in the same shade finished with two large silk roses – a reference to the middle name of Princess Margaret Rose.
And while she has tended not to associate herself with flashy designer names, she made an exception for her signature off-duty silk headscarves. Those all came from Hermes.
We will never know, now, the truth behind the incident which the internet dubbed “brooch warfare”. When the then US president, Donald Trump, met the Queen in 2018, she chose to wear a small moss agate floral brooch.
It was a low-key choice, perhaps chosen simply to pick out the green leaves printed on her dress, but eagle-eyed observers noticed it was a piece that had been given to her by Barack Obama.
The choice was seized upon as evidence that the Queen was subtly trolling the new president by semaphoring friendship with his predecessor.
That those who wish to believe this can choose to do so, and those who wish to insist it is coincidence can hold the opposing view, is perhaps the ultimate in fashion deal brokering. Nonetheless, I can’t resist a word in support of the theory that the Queen was Team Obama.
Michelle Obama recalled being touched by the Queen wearing the brooch to the last dinner of the state visit during which she and her husband had given it to her. “In the gloriousness of that outfit she had on, she put on the little bitty pin we gave her,” she remembered.
“That was my experience … That kind of warmth and graciousness, and intelligence and wit.”
Dress coats and hats
Customers have praised the Barbour brand, noting that the jackets are the “perfect spring jacket,” keeping up with Queen Elizabeth’s reputation.
The British heritage brand has been given the royal seal of approval for good reason. Any spring wardrobe, royal or not, needs this lightweight Barbour jacket with gorgeous diamond quilting and polished goldtone hardware.
Everyone has been sifting through her majesty’s fashion archives, from fashion designers to bloggers to fashion week street style, and they are all undeniably fans of the headscarf trend.
Bow blouses are rarely out of style, but the Queen, who adores this prim, feminine look, does it best.
This style will certainly add a touch of refinement to your look because so many celebrities and influencers have been seen wearing it during fashion week and events.
The twinset, which became a recognizable characteristic style of the fashion brand, may have been inspired by the Queen. This beautiful twinset is so well-liked that it will be seen by almost every celebrity.
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